UNIVERSITY OF BUCHAREST

FACULTY OF FOREIGN LANGUAGES AND LITERATURES

APPLIED MODERN LANGUAGES

ENGLISH DEPARTMENT

AN ENGLISH- ROMANIAN GLOSSARY ON

FILMMAKING

Coordinator:

Associate Professor Dr. Diana Ioniţă

Graduate:

Roxana-Alexandra Mocanu

Bucharest
 February, 2009

DECLARAŢIE,

Subsemnata, Mocanu Roxana- Alexandra, candidata la examenul de licenta la Facultatea de

Limbi si Literaturi Straine, in domeniul Limbi Moderne Aplicate, specializarea Engleza- Spaniola,

declar pe propria raspundere ca lucrarea de fata este rezultatul muncii mele, pe baza cercetarilor

mele si pe baza informatiilor obtinute din surse care au fost citate si indicate, conform normelor

etice, in note si in bibliografie. Declar ca nu am folosit in mod tacit sau ilegal munca altora si ca nici

o parte din teza nu incalca drepturile de proprietate intelectuala ale altcuiva, persoana fizica sau

juridica. Declar ca lucrarea nu a mai fost prezentata sub aceasta forma vreunei institutii de

invatamant superior in vederea obtinerii unui grad sau titlu stiintific ori didactic.

Semnatura,

________________________

2
 TABLE OF CONTENTS

I. INTRODUCTION........................................................................................................................pg 6

1. AN OVERVIEW ON THE HISTORY OF CINEMATOGRAPHY.............................................pg 6

1. a) Precinema................................................................................................................................pg 6
1. b) 20th Century Cinema...............................................................................................................pg 8
1. c) The Snapshot...........................................................................................................................pg 9
1. d) Thomas Edison........................................................................................................................pg 9
2. GEORGES MÉLIÈS AND HIS DIRECTORIAL WAND.......................................................pg 11
3. ROMANIAN CINEMA............................................................................................................pg 14
3. a) The Begining.........................................................................................................................pg 14
3. b) The First World War..............................................................................................................pg 16
3. c) Romanian Talking Pictures (1930-1947) ..............................................................................pg 17
3. d) Cinema During Communism (1948-989) ............................................................................pg 19
3. e) Recent Romanian Cinema ( 1990-present)...........................................................................pg 20
4. FILM TECHNOLOGY AND KEY CONCEPTS.....................................................................pg 22
4. a) The Camera...........................................................................................................................pg 22
4. b) Sound.....................................................................................................................................pg 24
4. c) Colour....................................................................................................................................pg 26
4. d) Deep-Field Photography........................................................................................................pg 26
4. e) Projection Techologies..........................................................................................................pg 27
4. f) Widescreen.............................................................................................................................pg 28
4. g) 3D..........................................................................................................................................pg 29
4. h) Special Effects.......................................................................................................................pg 29
4. h) 1. CGI....................................................................................................................................pg 29
4. i) The Future..............................................................................................................................pg 30
5. THE BASIC STEPS OF FILMMAKING.................................................................................pg 32
5. a) Pre-Production.......................................................................................................................pg 32
5. b) Production.............................................................................................................................pg 33
5. c) Post-Production.....................................................................................................................pg 34
5. c) 1. Film Editing.......................................................................................................................pg 34
5. c) 2. Sound Editing....................................................................................................................pg 35
5. c) 3. Special Effects...................................................................................................................pg 35
5. d) Promotion..............................................................................................................................pg 35
5. d) 1. Distribution.......................................................................................................................pg 35
5. d) 2. Certiication........................................................................................................................pg 36
5. d) 3. Marketing..........................................................................................................................pg 36
5. d) 4. Exhibition..........................................................................................................................pg 37
6. THEORETICAL APPROACHES.............................................................................................pg 39
6. a) Terminology aspects..............................................................................................................pg 39
6. b) The Glossary..........................................................................................................................pg 39
6. c) Methods Of Research............................................................................................................pg 40

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6. d) Fields.....................................................................................................................................pg 40
6. e) The Concept Map..................................................................................................................pg 41

II. ENGLISH-ROMANIAN GLOSSARY ON FILMMAKING..................................................pg 43

III. CONCLUSIONS...................................................................................................................pg 238

1. THE OPTION FOR A GLOSSARY ON FILMMAKING......................................................pg 238

2. GLOSSARY CONTENT.........................................................................................................pg 238
3. GLOSSARY DEVELOPMENT CHALLENGES...................................................................pg 239
4. SOLUTIONS...........................................................................................................................pg 239

IV. REFERENCES......................................................................................................................pg 240

1. BIBLIOGRAPHY....................................................................................................................pg 240
2. WEBLIOGRAPHY..................................................................................................................pg 241

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 MOTTO:

"The very meaninglessness of life

forces man to create his own meaning.
If it can be written or thought, it can be filmed."

Stanley Kubrik
(1928- 1999)

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 I. INTRODUCTION

1. AN OVERVIEW ON THE HISTORY OF CINEMATOGRAPHY

Before Cinema ever developed, there was man's idea of capturing and manipulating the
moment by whichever means possible.

1. a) PRECINEMA

It was as early as 400 B.C. when Aristotle, this Greek philosopher taught that objects
themselves emit light which the eye sees. Aristotle observes crescent-shaped images
created during an eclipse, through small holes in the leaves of trees, furniture and the
crossing of the fingers. Aristotle notes that the smaller the hole, the clearer the image. He
goes on to observe that regardless of the shape of the pinhole (aperture), the light passing
through is always in a circular shape. In his essay entitled “On The Form Of The Eclipse”,
Aristotle wrote: "The image of the sun at the time of the eclipse, unless it is total,
demonstrates that when its light passes through a narrow, round hole and is cast on a
plane opposite to the hole it takes on the form of a moon-sickle. The image of the sun
shows this peculiarity only when the hole is very small. When the hole is enlarged, the
picture changes ..."

Even before men desired to capture images on paper, and make them move, we have
been fascinated by such simple pleasures as eastern shadow plays, pinhole images and
lanthorns. Whether it was observing images of light cast upon the ground through the
intertwined leaves on trees, the ascending paper cut-outs from a flame or hand operated
puppets in China and Greece, man has wanted to witness the reproduction of movement
made by his own hands.

Cameras have been made of seashells and many have been made of oatmeal boxes,
coke cans or any size of box. Cameras have been cast in plaster like a facemask,
constructed from beautiful hardwoods, built of metal with bellows and a range of multiple
pinholes. Even cars have been used as pinhole cameras and rooms in large buildings. In
fact the camera obscura effect (pinhole images seen within a camera) was first seen inside
the cave, and later in large rooms.

The showman Villanova performed scenes outside a room, which had a small hole in one
wall. Patrons sat inside and watched "cinema". The accompanying sounds heard outside
matched the scenes viewed inside. Pinhole images are softer and less sharp than pictures
made using a lens. The images have nearly infinite depth of field and wide-angle images
remain absolutely rectilinear. On the other hand, pinhole images suffer from greater
chromatic aberration than pictures made with a simple lens, and they tolerate little
6
enlargement. Exposures are long, ranging from half a second to several hours. Images are
exposed on film or paper -negative or positive; black and white, or color.

Cinematography is the product of technical games and experimenting around the end of
the 19th century. It is defined as the illusion of movement by projecting in rapid fashion,
many still pictures and is also known as motion pictures, movies or moving pictures. In it's
early stage, cinematography has then been treated solely as some sort of "fun" science to
study. The start of the 20th century though, brought cinematography to it's artistic identity.
It took it less than 50 years to become the art with the most spread influence, stumping
across good old literature.

Motion pictures came to be as the result of numerous other inventions. A large segment of
the discoverers came from the field of photography. Many more came from those who
worked with magic lanterns. Some were interested in projecting images, and then others
studied how images could be recorded on different materials such as leather and paper.
But these were not the only men interested in watching real-life motion unfold before their
eyes.

People like Oliver Wendall Holmes desired to enhance prosthetics for post civil war
amputees. Others like the scientist E. Jules Marey studied the motion of animals and
particularly birds, in flight. British born American photographer Eadweard Muybridge also
studied animals in motion but humans as well. By the end of the century, all of these
discoveries, experiments and inventions came together to form the art we now call as
movies, videos or cinema. Since man was first created, he has had an insatiable thirst to
re-create his own movements. His first attempts were simple drawings of animals, showing
them in their natural stride. Primitive, but effective enough for his needs and desires. And it
is in fact this driving desire to not only create and re-create, but to continually improve on
his previous works that allows for man to produce a superior, more enhanced version of
the original.

The magic lantern, a projector with a future that would inevitably become one of the most
famous and entertaining inventions in history, in many ways surpassing that of the
automobile and airplane combined. In its primitive state, the magic lantern was the
forerunner of our current day slide projector and overhead. It however, was without motion.
Void of fluidity yet electrifying and exhilarating in its presentation, this little tin box with a
chimney was only one of many vital components that make up the art of seeing pictures
"move". And they all have their special place in the story, and history of cinematography.

The Magic Lantern is an ancient projector originally illuminated by candles and oil lamps.
Considered to be black magic, sorcery and witchcraft when originally developed during
medieval times, its inventors were at times considered sorcerers to achieve the effects
created by projecting images on a screen. This thinking was perpetuated in the 18th and
19th centuries with the coming of the phantasmagorie.

Another precinema attempt was The Phantasmagoria which became an extremely popular
piece of entertainment for children as well as adults. It’s popularity soared throughout
Europe, particularly in Germany but never as much as in France. Born of a combination of
the Shadowplay, the magic lantern and the desire to deceive or trick, the Phantasmagoria
could be considered the forefather of today’s horror movie. Its basic purpose was to
produce through simple techniques, an illusion. Subjects were primarily of the black magic
or necromancy categories; ghosts, spirits, dead relatives or personalities and politicians.
The purpose was to scare the audience to death. Techniques included the use of smoke,
7
the Shadowplay, use of two or more magic lanterns, rear projection, hidden projection,
projection on glass, use of mirrors, projection from below the stage, movement of the
lantern (hidden) offering the illusion of subject-motion and many other ingenious moves.

It is perhaps, for these reasons too, why, later on, film has long been taken for simple
amusement rides, hardly indulged by the more pretentious of crowds. They were the ones
who most of the times loathed it and sent it straight to the fun fairs. Several of the most
important filmmakers began their careers early 19th century by gripping on to what was
ironically called "Nikel-odeons", which roughly translated would mean " temples of a dime
a dozen art".

1. b) 20th CENTURY CINEMA

Although by 1920, Charlie Chaplin had already released some of his greatest appearances
in film, the cinema world needed the intervention and reaping of Soviet industry to start
being pleasing to even the most selective of viewers.

Cinema has created its own language, nothing to do with any other languages of the arts it
was born out of. In 1910 a hybrid was born: the art movie, in France. Film as show, as a
ride, on the other hand, remained a good means of technically putting opera, or theatre
plays onto film strip for anyone to see.

For film in the Capitalist era and world, there is one thing that sets the negative print on the
artistic value aspect: that of considering art as a business. It is almost natural that the
economical determines the ideological in most of the social regimes, thus, film, becoming
a product, obeys economic rules. As opposed to other arts, where artist are not working
machines for their "producers", this interdependency will give cinema the ruling of the
capitalist "producer".

Filmmaking is in essence a costly art. As it is based on team work, film demands the
partnership of a large number of artists and technicians, it claims massive material means
which can add up to millions in numbers. This quickly had it acknowledged that film is not
mere consumer's merchandise, but an amazing propaganda tool, thus having it wheeled
out as the people's opium, the dream factory, a highly equipped film-making utility suited to
draw the people’s attention away from its vital interests and tame it down to the will of a
fistful of people. Film was highly used for anti was and anti soviet propaganda intensely.

Film history goes hand in hand with the history of technique. Arts are definitely not reduced
to technique, but the evolution of the material onto which they are brought to our attention
broadens or modifies their range and their communication skills.

For cinema- which began taking shape at a certain point in the development of
photography- every one of the inventions and technical revolutions meant either a huge
aesthetic leap forward or completely new possibilities. It was film and sound which
together stirred the world. At first, used slightly unskillful, mostly for noisy extravaganza, it
managed to outrage several film-makers and critics who mourned the loss of the silent art.
As years gone by, The Cinemascope succeeded in being fully assimilated aesthetically
and wide screen films no longer gave the impression of a new gimmick.

Slowly and systematically, by technical improvement and sometimes involuntary

innovation meant for various purposes, and from the eccentric billionaire who wanted to
have his race horses photographed, to Marey, the physiologist and inventor of the
8
Chronophotographic Gun, the foundations of a new art have been grounded.

1. c) THE SNAPSHOT

Cinema is truly a lot about snapshots. This universal technique in our days was by far
even thought of in 1839 when the French government bought the patent from Mande
Daguerre and those of Nicéphore Niépce's ancestors in order to give to the world one of
the most extraordinary inventions of the modern ages.

This is how one of the first known photos, La table servie, was taken by Niépce: the table
was set up in his garden in front of a camera obscura, into which had been placed a silver
plate coated by a white layer of distilled lavender essence. Four hours later, the plate – in
contact with the vapors of petroleum – let appear a highly grainy image, but clear enough
to make out the objects resting on the table. This process was called the Daguerrotype
and so were named the first photos obtained this way. The first daguerreotypes are still
nature and landscapes. By 1839, the exposure time was still way over a half an hour, but
this didn't seem to bother people much. Photography was perceived as just another type
of drawing, a new way of chemically obtaining image through the help of black chambers,
camera obscuras, used even by Renaissance artists.

After 1840, exposure time goes down to 20 minutes. The models used for posing were
forced to sweat for just as long under the drenching sun, keeping their eyes shut. The
suffering of being exposed to photography soon ended with the discovery of the wet-plate
collodium method around 1851, which allows an exposure of several seconds, the ability
of multiplying a photo and which brings a whole new craft and job to tens of thousands of
people: Photography.

The first animated photos were taken in the workshops of photographers such as Claudet,
Herschel and Seguin starting 1851. Later, in 1872, the English, Eadweard Muybridge takes
the first motion pictures at the request of a Californian billionaire. All along a racing track
Muybridge had 24 camera obscuras mounted by 24 operators who would have 24 wet-
plates of collodium ready at his signal. Using this procedure, the plates would dry in just
minutes and lose their impressioning quality. As soon as all 24 cameras are loaded, the
horses can be released for racing and then shot by them breaking the ropes set along the
track to trigger the cameras. This proved to be quite amusing tale to tell at the time and a
good legend for our days, considering that the procedure itself turned out to be quite
hazardous, for the horses at least. The film does eventually come out and the world is left
amazed.

1. d) THOMAS EDISON

About around the same time Muybridge experimented with motion pictures, Edison unveils
the revolutionary 35 mm film, with 4 sprocket holes on the sides of each frame. This is
what would take cinema to the next step. The famous inventor had just gone through with
mass-producing the light-bulb, a ground breaking release which stood at the basis of
"General Electric", a world-wide franchise under the J.P. Morgan Bank's authority.

In 1887, Edison attended to improving his Phonograph- his previous invention while trying
to built the Telephone- by combining it with animated pictures. Several failures later, he
returns to Etienne-Jules Marey's Chronophotograph. The substantial aid British inventor
9
Dickinson brought to it was perforating film strip and using celluloid strip by 50 feet long,
manufactured for this purpose alone by "Eastman Kodak".

Edison wasn't a fan of the idea of taking his movies out for the public to see, thinking that
that would kill the magic of the silent film for good, leaving it helpless and incapable of
reawakening the people's interest ever again. In 1894 he lands his Kinetoscopes on the
market, some tall cases with a peephole and film stock of over 50 feet inside of them.

To project film onto these machines, the dealers would need the original copies of Edison's
motion pictures or patterned Edison film strip, superimposed on Marey's copies of
Chronophotographs.

In 1895, the first cinematographic features come to light, or better yet, to darkened rooms.
These shows grow and spread swiftly, most of the times being the work results of unknown
directors, and thus, having not once, a series of similarities. As the trend of the cinema
grows, so does the intrigue between filmmakers and the confusion on to whom the
invention of Cinema belongs to.

Surpassing the commotion and outshining the success of any previous shows are those
released at the Lumière Theater. Auguste and Louis had the first show displayed on the
28th of December, 1895, at the Grand Café, Capucines Boulevard in Paris.

Louis Lumière owned, alongside his brother and father, a major photographic equipment
plant in Lyon and open its activity as soon as the first Kinetoscope arrived in France in
1984. He builds a Chronophotograph of his own and uses Edison's film strip from Lyon on
it. After several public displays with the machine, Lumière basically fathers his
Cinematograph in 1985, a machine that can film, project and also copy. This machine was
the triumphant result over all before it.

Tens of Lumière's disciple camera operators travel the world with his invention, thanks to
its light-weight version, and get the name of the Cinematograph, or its derivates: Cinema,
Cine, Kino well known as the new universal show. By the end of 1896, the Cinematograph
has gone completely out of the lab and into the mainstream.

Several of other variants of the Cinematograph are being patented and , with their help,
Lumière, Méliès, Pathé and Gaumont in France, Edison and the Biograph Company
across the Ocean and William Paul in London all manage to set the foundations of
Cinematography as an industry, having thousands of people storming into dark theatre
halls every night.

So it is with man in his more civilized and educated state when he draws on his innate and
natural urge to expand and go beyond what his senses say is unexplainable. Society's
magnetic attachment to watching films today is no different than the drawing power that
pinhole images had on Aristotle. Nor is today's attraction to television, videos or computer
games any stronger than Venetians of the 13th century viewing Villeneuve's moving
shows. Great film directors of today pursue the finishing touches of their artwork at the
same speed and obsession as the pioneer's of previous centuries pursued theirs.

10
 2. GEOGES MÉLIÈS AND HIS DIRECTORIAL WAND

Georges Méliès ' genius is translated through the fact that he was, as he actually
described himself, the first one to ever bring The Cinematograph to the audience for a
spectacular theatrical display. He had certainly had his predecessors, but those were only
into reproducing sketch-like daily moments.
It was in fact Méliès who was given the opportunity to create the cinematographic show.

This 35 year old Parisian had been managing over the Robert Houdin theatre for 10 years.
He was in in charge of the famous prestidigitator's cultural inheritance, of his wife's dowry
and his part father's shoe factory business. Méliès was a quite wealthy man, not to
mention the income his small theatre was bringing him.

He had picked up prestidigitation as a young man and grew into quite a magician. He later
on decided he was going to be a director as he stood bewildered witnessing the first ever
screening at the Grand Café. He had gone and declared Antoine Lumière how he was
eager in purchasing his son's invention, but the man informed him of exactly what followed
18 months later: the Cinematograph's era was to be shortened. Antoine Lumière refused
to sell the invention and time proved him right, for in just a few months from that
discussion, the man became rich off the profits of the Cinematograph.

Méliès is not taken aback though and gets himself a projection system from the London
based optician named William Paul, buys film strip from Kodak and produces his first 80 or
so films in 1896, all of which had nothing to with greatness or originality, being mere copies
of Edison's work.

His stroke of genius is first noticed when he mixes in magic trick techniques with straight
camera angle. In 1897, he puts in 80 thousand gold francs to organize the Star Film
company and build a huge set in Montreuil, by the gates of Paris. This is when his career
set off.

He produced, directed, photographed, and acted in more than 500 films between 1896 and
1913. Initially Méliès used stop-motion photography (the camera and action are stopped
while something is added to or removed from the scene, then filming and action are
continued) to make one-shot “trick” films in which objects disappeared and reappeared or
transformed themselves into other objects entirely. These films were widely imitated by
producers in England and the United States.

The idea for the first „trick” came to Méliès by accident, as he was screening some tape he
previously shot in the Opera Square. He was astonished to notice how an omnibus, trolling
along the Madeleine- Bastille road had suddenly turned into a hearse.
He shortly found how this had happened: the film strip had jammed, then after unblocking,
it continued, but taping the hearse. This metamorphosis was Méliès' Newton's apple. The

11
specialist in on-stage tricks had turned into to one of on-screen effects.

„Escamotage d'une damme” ( The disappearance of a lady) is the name of Melies' first
picture to reap this new found technique in 1906. He couldn't enact the disappearance on
the Houdin stage, because he would have needed to much equipment and floor doors,
therefore, he went to the gardens of his studio in Montreuil. Artificial lighting was a delicate
thing to handle, and even if Méliès had once used it for a concert at the theatre, his studio
was still functioning on outdoors sets.

He takes his actress in front of a big cloth, hung across the garden's wall, places her on a
stool, cuts for just a minute as the lady walks up and leaves, then restarts shooting. The
screening would then later make it look as if the lady had simply vanished into thin air.

Some of Méliès' other so-called tricks, which were actually involuntary innovations crucial
for what cinema is at the very moment, were using set dressing, increasing the number of
frames per second to seven for his „L'homme orchestre”( The orchestra man), and last but
not least, applying the traveling technique for his „ L'homme de caouthchuc” ( The rubber
man)in 1901.

Georges Méliès made it look like taking over the crowd through tricks was simply the goal
and not the means, but what he does is actually put together the words of a future
language, using hocus-pocus instead.

What Méliès managed to bend and shape was the idea of montage, which for his
predecessors meant editing for the need of building news reels. This time, montage meant
having a Cinderella on screen as she is walking out of the kitchen and then having the
same Cinderella walking into a prom hall.

Méliès ' shine over cinema stands undisputed, simply because everything he brought over
from the theatre stage: the actors, the stage itself, the costumes, make-up and props, the
equipment, the notions of acts and scenes, all of these are the pillars of what we get to
take for granted today.

His most popular and youtubed multiscene films were L’Affaire Dreyfus (The Dreyfus Affair;
his first, 1899), which followed the logic of linear time to establish causal sequences and
tell simple stories and Le Voyage dans la lune (A Trip to the Moon), adapted from a novel
by Jules Verne and holding nearly one reel in length (about 825 feet [251 metres], or 14
minutes).

The first film to achieve international distribution (mainly through piracy), Le Voyage dans
la lune was an enormous popular success. It helped to make Star Film one of the world’s
largest producers (an American branch was opened in 1903) and to establish the fiction
film as the cinema’s mainstream product.

In both respects Méliès dethroned the Lumières’ cinema of actuality. Despite his
innovations, Mélies' productions remained essentially filmed stage plays. He conceived
them quite literally as successions of living pictures or, as he termed them, “artificially
arranged scenes.” From his earliest trick films through his last successful fantasy, La
Conquęte du pole (“The Conquest of the Pole,” 1912), Méliès treated the frame of the film
as the proscenium arch of a theatre stage, never once moving his camera or changing its
position within a scene. He ultimately lost his audience in the late 1910s to filmmakers with
more sophisticated narrative techniques.
12
Georges Méliès created a style which allowed him to paint a fantasy filled world with
poetry and enchantment. His films, mostly those painted over by hand stand as the marks
for Cinema's childhood, an era seen through the eyes of a wonder-child, at which, the child
himself is bewildered.

13
 Le Voyage dans la Lune

3. ROMANIAN CINEMA

Late 19th century Romania stumbled across numerous setbacks when it came to
establishing a national film production system under the bourgeois landlords' watch. This
social layer was just as reluctant to the people's requests for a national drama theater and
an opera house. The main cause of their lack of support was the thought that Romania
had little to do with creative talent and more to do with bowing its head before Westerners.

Romanian Cinema's birth was pushed by foreign film screenings which helped arouse
public curiosity towards the new invention. Enthusiastic cameramen began making films
out of passion for the newly discovered art. Their principal results though were actualities,
very short (many less than one minute) one-shot scenes capturing moments of everyday
life.

Cinematography worldwide, Romania included, was both art and industry; therefore, it
needed the appropriate financial support. Considering how Western monopoly was implied
to particularly hold down any potential growth of the Romanian artistic scene, most of the
home productions were nothing but cheap projects requested by foreign studios which had
nothing to do with the real life and culture of Romanians.

At the beginning of the 20th century though, things started to look up for film and music,
rather for literature. Film could evolve freely, although, with its remarkable actors and all,
the release of a Romanian project was rare. It was in 1912, 17 years after the Lumière
brothers hit the mark of world cinema at the Grand Cafe in Paris, when the release of an
all Romanian feature took pace. It was called „ The independence war” known to have
been directed by Grigore Brezeanu and starring the country’s greatest actors: Constantin
Nottara, Vasile Toneanu, Aristide Aemetriad, Aurel Barbelian, Petre Luciu, Ion Brezeanu
etc.

3. a) THE BEGINING

However, before that moment ever arrived, the very first cinematographic screening took
place on 27 May 1896. In the Romanian exhibition, a team of Lumière brothers' employees
screened several films, including the famous “L'Arrivée d'un train en gare de La Ciotat”.

The next year, in 1897, the French cameraman Paul Menu (an employee of the Lumière
brothers) shot the first film set in Romania, The Royal parade on 10 May 1897, showing
King Carol I mounted, taking his place on the boulevard to head the parade. He continued
by filming other 16 news items over the following two months, but only two survived up to
now as number 551 and 552 in the Lumière catalogue. Menu's first Romanian films were
presented on 8 June/23 June 1897, including images of the floods at Galaţi, Romanian
Navy vessels on the Danube, and scenes from the Băneasa Hippodrome.

By 1898, public interest in cinema started fading, so Paul Menu offered his camera for sale
("L'Indépendance Roumaine", 16 March 1898). The camera was bought by Doctor

14
Gheorghe Marinescu who became the first Romanian filmmaker, realizing a series of short
medically-themed films between 1898 and 1899. Gheorghe Marinescu, together with
cameraman Constantin M. Popescu, made in 1898 the first scientific film in the world,
“Walking difficulties in organic hemiplegia”. In a letter to doctor Marinescu from 29 July
1924, speaking about these films, Auguste Lumière acknowledges that "unfortunately, few
scientists followed the path you opened". His films were considered lost until 1975, when a
TV reporter named Cornel Rusu discovered them in a metal cabinet in a hospital bearing
the famous doctor's name.

In May 1909, the first theater in Romania built especially for exhibiting films, Volta, was
opened on Doamnei Street in Bucharest. Transylvania, then part of Austria-Hungary, had
already had its first movie theatre in Braşov since 1901. Volta was followed starting with
the next year by others, such as Bleriot on Sărindar Street, Bristol, Apollo and Venus. The
programs consisted of actualities and short "little films with actors" (for example, a five
minute shot of Victor Eftimiu and Aristizza Romanescu during a stately walk on the
seashore). The films gradually increased in running time, eventually developing into
newsreels and fiction films.

The first Romanian fiction film was Amor fatal (Fatal Love Affair), starring Lucia Sturdza,
Tony Bulandra and Aurel Barbelian, actors from the National Theatre Bucharest. The film
was directed by Grigore Brezeanu, a director from the same theatre and the son of the
great actor Ion Brezeanu. The film played between 26 and 30 September 1911 at the
Apollo Cinema.

The mediocre level of Romanian production quality came from a complete waste of
potential and skill from both directors and actors, working on demand and offering
whatever the crowds asked for at that moment. Movies such as „ Pacatul” and „Venea o
moara pe Siret” had wither German directors, Austrian screenwriter, Italian cast and
Romanian extras. Even the firs Romanian talkie, „Ciuleandra”, was overshadowed by this
lack of unity in the national film industry.

On 5 May 1912, the magazine Flacăra (The Flame) brought to its readers' attention the
fact that "as it is known, a few artists have founded a society with the goal of producing a
film about the War of Independence... Such an undertaking deserves to be applauded".
The initiators were a group of actors: C. Nottara, Aristide Demetriade, V. Toneanu, I.
Brezeanu, N. Soreanu, P. Liciu, as well as the young Grigore Brezeanu, associate
producer and the creative force behind the whole operation. Since a large amount of
money was needed for the production, they also brought into this effort Leon Popescu, a
wealthy man and owner of the Lyric Theatre. The group received strong backing from
government authorities, with the army and all necessary equipment being placed at its
disposal. Could Grigore Brezeanu have been the film's director? No source from that time
gives credence to such a hypothesis. On the contrary, they present him as "initiator",
producer of the film, beside members of the National Theatre and Leon Popescu.
Furthermore, it appears that it was he who attracted the financier of the entire undertaking.
In 1985, the film critic Tudor Caranfil discovered among Aristide Demetriade's papers his
director's notebooks for Independenţa României, unequivocally confirming that he was the
film's director.

On 2 September 1912, at the Eforie cinema, the largest movie theatre in Bucharest, the
premiere of Independenţa României took place. Despite all its shortcomings as the
theatrical game of the actors, the errors of an army of extras uncontrolled by direction
which provoked unintended laughter in some scenes and rendered dramatically limp those
15
of the beginning, the film was well received by spectators, being shown for several weeks.
Through this realization, through the dimensions of its theme, through the distribution
method chosen, through the genuine artistic intentions, through its professional editing (for
the time), the creation of this film can be considered Romania's first step in the art of
cinematography.

And yet he who had realized this work, the man who kept the whole team together, the
theatre director Grigore Brezeanu, was left disappointed. The press of the time made
ostentatious mention of Leon Popescu, who financed the film and made sure to distance
the other financiers, buying their part; no such praise was heaped on the artistic makers of
the film. This caused producer Grigore Brezeanu to say in an interview given to the
magazine "Rampa" and published on 13 April 1913: "My dream would have been to build a
large film studio. I have come to believe that this is impossible. First of all, we are missing
a large capital investment. Without money we cannot rival the foreign studios...A studio,
according to our financiers, is something outside art, something in the realm of agriculture
or the C.F.R. Hence I have abandoned this dream with great regret."

But Leon Popescu---after the appearance of certain products allegedly of the Romanian
cinema, filmed by the Pathé-Frères studio and featuring second-hand actors; in fact, these
were a mixture of foreign films with scenes shot in which Romanian actors appeared (they
were presented on the stages of movie theaters, in the form of theater productions played
by actors "in flesh and blood" coupled with filmed scenes of the same actors), known as
"cinema sketches"---responded with a wide-ranging offensive plan, forming the Film de
artă Leon Popescu (Leon Popescu Art Film) society in 1913.

3. b) THE FIRST WORLD WAR

During the First World War, film production was mainly directed toward documentaries and
newsreels. The few Romanian cameramen were mobilized, and during the retreat to
Moldova all film cameras in the country were saved. His Majesty Ferdinand I was filmed on
the front, together with the generals Constantin Prezan and Alexandru Averescu, while
Queen Marie was filmed in hospitals, easing the suffering of patients. Few sequences
remain of the thousands of metres filmed. Some of these were later used in the film
Ecaterina Teodoroiu, produced in 1930.

After World War I, internationally, film production developed in accordance with the interest
of businessmen in the new industry. New studios endowed with good equipment and
specialists well trained in the new technology appeared, directors and actors known to the
public at large were attracted to work in the new industry, as were renowned screenwriters.
Markets were opened for finished film products, which through a market-tested formula
managed to bring profits and finance new productions. Film industries with lavish financial
resources came to dominate the market, decimating weak national cinemas.

In this context, an active Romanian film industry was but a dream. The approximately 250
movie theatres then in existence in Romania could not even generate the amount of
money needed for one film, with profits out of the question.

To all these were added two other catastrophes: Leon Popescu died in 1918, after which
his "studio" (in fact some improvised sets in warehouses) on the grounds of the Lyric
Theatre burned down; miraculously, of all the films, only one was saved: a copy of
Independenţa României (this being incomplete, with about 20 minutes missing).
16
(According to other versions of the story told at the time, suffering from a crisis of nerves
brought about by his films' failures, Leon Popescu set fire to his own storehouse of films
and died shortly thereafter.)

The lack of a steady supply of financial resources was the constant obsession
permanently plaguing Romanian film directors. The absence of a "Leon Popescu", a
wealthy man ready to invest his earnings in film production, caused directors and the few
actors passionate about the new art to seek financiers who were equally passionate and
disinterested. This is how the young actor-director Jean Georgescu found a retiree in the
year 1925 who, for more or less artistic reasons, invested his savings in the production of
a film called Năbădăile Cleopatrei (Cleopatra's Caprices). In the same fashion, Jean
Georgescu produced the film Milionar pentru o zi (Millionaire for a Day) (1925) in a
Bucharest cabaret, since the owner wanted to advertise the building.

The attraction of the screen and the real desire to make a name for oneself in the new art
led to the foundation of several film schools. Students' tuition fees paid for the production
of certain films. Of course, the students were unpaid actors, which allowed for widespread
distribution.

From a technical point of view, making films was very difficult. If a film camera could be
obtained from newsreel photographers, the print was prepared with them also. The
problem of finding a set to use was very difficult, with the director searching for a set
among all nearby warehouses, granaries, stables or dance halls. Sometimes filming was
done in different apartments or in homes owned by those willing to help. Lights were
usually gathered up from photographers' studios. Often, due to overcrowding in
residences, films would accidentally display a light or the cameraman and his camera
reflected in a mirror or a piece of furniture. The best locations were those offered by
various theatres on occasion that work take place at night. Another solution was for them
to shoot interiors outdoors. They built their "interiors" on sets exposed to sunlight (thus
eliminating artificial lights) and built on a platform that could be rotated and thus make full
use of sunlight.

The lack of innovation in the field, due to a lack of materials and sometimes of information,
caused these suffering devotees of the new muse to play things by ear, with many films
showing weak artistry.

3. c) ROMANIAN TALKING PICTURES (1930–1947)

The appearance of sound films opened a new stage in the development of world cinema,
by implication in the weak cinema of Romania as well. The appearance of sound further
complicated the tricky problem of the technical-material base, both in terms of production
and of projection in theatres. Competition from abroad shattered the dreams of Romanian
producers, such that the number of films produced after 1930 within the cinema of
Romania fell noticeably. Hence, until 1939, just 16 films were produced. The majority were
"Romanian versions" of foreign films produced in Paris, Prague or Budapest studios with a
few Romanian technicians and some Romanian actors. Practically, they were involved in
dubbing.

The German director Martin Berger, who in 1929 had directed the silent film (among the
last Romanian silent films) Venea o moară pe Siret (A Mill Was Coming down the Siret)
through an official subsidy, came back and in 1930 directed a film based on the novel by
17
Liviu Rebreanu with the same name, Ciuleandra. This was the first Romanian talking film.
The film was an artistic fiasco because the famous German actors provoked laughter
through the German accent they had when speaking Romanian. Even the few Romanian
actors who appeared in the film spoke strangely, as the German producers, being unused
to the cadence of the Romanian language, imposed a diction of phrases with long pauses.
Hence, in one scene, the son climbed down a staircase saying one word on each step:
"How... are... you... father?". The reply sounds the same: "Fine... dear..."!

During this nadir of Romanian cinema a ray of hope appeared. Politicians, and not only in
Romania, realized the great influential power that cinema had as part of the mass media.
Cinema could be used for purposes of propaganda, for influencing the masses at large
with different levels of culture. (Even Lenin, realizing the propaganda power of film, said:
"Of all the arts, the most important for us is cinema". Hence, film could be used as an
important ideological weapon and the Communists needed it in their "great work" of
destroying democracies). Furthermore, it had been proven that the tenacious work of
Romanian film directors, despite all its imperfections, had been well received by the public,
and had begun to prove right those who kept calling for subsidies toward the production of
Romanian films.

Thus, at the beginning of 1934, a law was passed establishing a National Cinema Fund.
This was funded through a tax of 1 leu per ticket and 10 lei per meter of imported film. Its
stated purpose was to create a material base for Romanian film production (studios,
laboratories, equipment, etc.) and, as subsequent revenue came in, to finance productions
as well. The fund's administration was placed in the hands of a committee formed by
Professor Tudor Vianu, Professor Alexandru Rosetti and the writer Ion Marin Sadoveanu.
These taxes provoked strong protests from film importers and movie theatre owners, yet
with the authorities not yielding, tempers soon relaxed.

Following the passage of this law, Romanian cineastes began a flurry of activity, planning
all sorts of projects. An entrepreneur brought in a Bell-Howel sound recorder and founded
a company called The Romanian Sound Film Industry, commencing with the production of
newsreels. Together with Jean Mihail he began the production of a documentary film,
România (Romania).

Through the contribution of a private entrepreneur, Tudor Posmantir, a laboratory named

Ciro-film was built in 1936–1937, equipped with Debrie devices. This was a modern
laboratory for developing and copying films, thus assuring that modern work techniques
would be used. A "film studio" was also built nearby–this was in fact a large wooden
hangar, but rather good for producing films.

Also in this period at the end of the 1930s, Oficiul Naţional Cinematografic (O.N.C., the
National Cinematographic Office) was formed, headed by the film critic D. I. Suchianu. In
the beginning the office worked on a periodic newsreel program and on documentary
production. Construction was also begun on a studio and completed with difficulty due to
the realm of cinematic art (A.N.F., the second). During the war, the O.N.C. was placed at
the disposal of the Army General Staff, the majority of cameramen being sent to the front,
and technicians being employed exclusively for the needs of wartime propaganda.

Despite all these difficulties, the film O noapte furtunoasă (A Stormy Night) was completed
between 1941 and 1942 in the O.N.C. "studio". Producing the film under wartime
conditions was a labor fit for Sisyphus, equally for the actors, cameraman, stage
electricians, script-girl, stage designers and prop handlers. All the exteriors had to be
18
constructed in the small 18x11 m studio, intended for music recording, since exterior
shooting at night was impossible due to the need to maintain camouflage. For panoramic
or travelling shots, two or three scenes had to be shot on a stage that had to be decorated
two or three times over, and then combined in order to constitute a whole shot. The way
this worked in practice was that once a scene was filmed, the set was taken down and the
next design thrown up. Only one thing was not lacking for them: photographic material. In
the end, 29,000 m were shot. The film O noapte furtunoasă was directed by Jean
Georgescu, based on the eponymous comedy by Ion Luca Caragiale;
This was the first and last film produced by the O.N.C.; for many years it remained a point
of reference in the annals of cinematic art in Romania.

3. d) CINEMA DURING COMMUNISM (1948–1989)

The 2nd of November 1948 meant a new beginning for Romanian cinema. On that day,
Decree 303, regarding "the nationalization of the film industry and the regulation of
commerce in cinematic products", was signed.
This can also be called the period of socialist cinema. Following "the teaching of the great
Lenin, the ideologue of the social formation of the proletarian class", who showed that "of
all the arts, the most important for us is cinema", however, not as an art but as an
instrument of ideological influence, the newly-installed regime fully subsidized the
production of films which, as a necessity, as an imperative, openly disseminated
propaganda.

In an era in which "not being with us means being against us", films had to actively strive
to show the realities of the new society. Socialist films had to reflect the struggle of the
"new man" against the "old retrograde society, a society in which man exploited his fellow
man, full of capitalists and men of inherited wealth who sucked the blood of the working
classes". Many films had as their theme the attempts of the retrograde bourgeois-landed
gentry class to render futile the new objectives of victorious socialism through their
stooges; but these efforts would fail because the Romanian Workers' (later Communist)
Party, through its activists, would inspire, depending on the situation, workers or peasants
toward victory. The same themes were found in documentaries and newsreels. Everything
in these productions was "gilt" with the "glorious achievements of the working class allied
with the working peasantry".

To have cadres ready to fill the necessary positions in the industry, Institutul de artă
cinematografică (The Institute of Cinematographic Art") was founded, with a mission of
preparing the new cadres needed for the new cinema: actors, directors and cameramen. It
was from here that the "golden generation" not only of Romanian film but also of the
national theatre graduated: the actors Silvia Popovici, Iurie Darie, Florin Piersic,
Constantin Diplan, Amza Pellea, Dem Rădulescu, Stela Popescu, Sebastian Papaiani,
Leopoldina Bălănuţă and Draga Olteanu, along with directors like Manole Marcus, Geo
Saizescu, Iulian Mihu, Gheorghe Vitanidis, and many others.

Romania now had a national cinema after a period when the old regime had not really
invested anything in the new art. The socialist authorities, through the investments made,
wanted to show the whole world and at the same time to prove how much it cared about
the new art, "the seventh art".

This fact led the leading Party and state institutions to decide to found a center for film
production. In 1950, construction began at Buftea on what would come to be called Centrul
19
de producţie cinematografică Buftea (The Buftea Studio), also known as C.P.C. Buftea
(today MediaPro Studios). The project was finished in 1959. Technically speaking, C.P.C.
Buftea was a state-of-the-art cinematographic town. It held 4 sound stages, all fully
equipped, a film processing lab, editing tools and screening rooms, a sound mixing studio
and plenty of spaces where the actors and the filmmakers could prepare their work,
including a movie base, apartment buildings and props storage rooms.

With the first ever Romanian film studio built, the industry could go ahead and enjoy the
ride. „Mitrea Cocor”, directed by Victor Iliu was the first movie to win the Social Progress
Award at the Karlovy Vary festival in 1952, „Valurile Dunarii”, by Francisc Muntean got the
Great Prize at the same festival, and last but not least, Ion Popescu- Gopo's short
animation movies made the tour of most French film festivals and left the public in awe.

Earlier, mention was made of documentaries and newsreels being as necessary as fiction
films for Communist propaganda. For this purpose the Alex Sahia Studio was founded in
1950, equipped with the best materials then available on the market.

If, until 1948, the production of animated films was virtually non-existent, after this year
many such films began to be produced at the Bucharest Studio, with a total of 15 films in
1955. Particularly notable was the contribution of Ion Popescu-Gopo. It was amazing how,
animation proved so powerful and valuable through Ion Popescu-Gopo. Films like „ Short
story”, „7 arts” and „Homo Sapiens” released in the 50's had not only determined the
upgrade in Romanian production, but held their spots in the worldwide evolution of the
genre.

Gopo's animated hero would win over the entire nature to give it back to the human kind,
he would plant flowers on the planets he’d travel and discover a being very much like him,
who he'd support, all in a humorous and moralizing fashion. One of the greatest film critics,
Georges Sadoul had actually mentioned in 1958 how Ion Popescu-Gopo could not only
stand right next to Disney or Marc Laren, but he wouldn't owe them one thing, fore he was
completely original in essence. The success of Romania's animated films convinced the
authorities to found the Animafilm studio in 1964. Here, "diafilms", slides for teaching use,
were also produced, as were television commercials.

Still, Romanian film production, such as it was in 1948, was practically non-existent. The
timid beginnings of Romanian film production were started by director Puiu Călinescu with
the film Răsună Valea (The Valley Resounds), with a theme similar to those discussed
above.

Once the number of films (some of which had a weak commercial content but a high
political-ideological component and were avoided by the public) produced by Romanian
studios rose, and import taxes were lowered, the quality of films shown, in particular that of
art films, suffered. At one point 40% of films shown were Romanian and 60% foreign,
including those from other Warsaw Pact nations. Many times even these were hostile to
ceauşist propaganda (one could no longer speak of "Communist" propaganda), as was
Malenkaya Vera, which already displayed the effects of perestroika.

3. e) RECENT ROMANIAN CINEMA (1990-PRESENT)

The collapse of communism changed the situation of Romanian cinema. Filmmakers

examined the communist period and the economical and spiritual crisis in the country.
20
Production often depended on the state grants, awarded by a jury. It was found that many
of the grants were awarded within a clique of earlier members of the jury, twisting the goal
of the system. It took the international success of filmmakers disliked by the juries to
change the system. The new millennium saw a reemergence of Romanian cinema. In
2001 and 2002, Romanian directors competed in the Directors' Fortnight section parallel to
the Cannes Film Festival with Cristi Puiu's first feature film Stuff and Dough (aka Marfa şi
banii) and Cristian Mungiu's Occident, respectively.

In 2005, Puiu's second feature, The Death of Mr. Lăzărescu, a journey through the
Romanian health care system, competed in the un certain regard category of the Cannes
Film Festival and won the prize "Un certain regard". It thereafter won many more prizes
around the world, becoming the most awarded Romanian film ever made. American critics,
previously rarely interested in Romanian cinema, were especially enthusiastic about the
film; it received a 93 percent of reviews categorized by Rotten Tomatoes were positive.

At the 2006 Cannes Film Festival, Romanian director Corneliu Porumboiu won the
Camera d'Or best-first-feature award for 12:08 East of Bucharest (aka A fost sau n-a fost?)
and Catalin Mitulescu (The Way I Spent the End of the World) competed in the Un Certain
Regard section. In 2007, Cristian Nemescu's posthumous California Dreamin' won the
prize in the Un Certain Regard section, while Mungiu's 4 Months, 3 Weeks and 2 Days
received the Palme d'Or in the Cannes film festival - the first time a Romanian filmmaker
won that prize. At the 2008 Cannes Film Festival Marian Crişan's Megatron (film) won the
Palm d'Or for short film.

Romanian cinema has recently achieved worldwide acclaim with the appearance of such
films as The Death of Mr. Lazarescu, directed by Cristi Puiu, (Cannes 2005 Prix un certain
regard winner), and 4 Months, 3 Weeks and 2 Days, directed by Cristian Mungiu (Cannes
2007 Palme d'Or winner). The latter, according to Variety, is "further proof of Romania's
new prominence in the film world.

21
 4. FILM TECHNOLOGY AND

KEY CONCEPTS

In some sences, the history of film is a hundred-year tale of innovation as filmmakers

attempted to translate stories into moving images. Film has always relied upon technology;
as a form of art, it is one of the most technological. Arguably, cinema is technology and
thus examining technology is crucial to understanding film itself. Technological
developments have affected filmmaking in two ways: filmmakers have utilized new
technologies to make films, and films have consequently increasingly reflected on the
consequences of the use of such technology.

4. a) THE CAMERA

The camera is the device with which the cinematographer captures a series of progressive
images on a strip of film. Early pioneers in cinematography struggled with the problem of
capturing clear, sharp moving images and were indebted to a combination of three
constituent technologies, two of which were not particularly new. Lens manufacture, for
example, had already become a healthy industry in the years since 1827, when
photography was invented.

The technology for rapidly repeated exposure of a light-sensitive emulsion to light admitted
through an aperture had also existed for some time: all that was needed was a motor
designed to turn at the appropriate speed which triggered repeated opening and closing of
the aperture, initially 16 or 18 times per second (24 after the coming of sound in 1927-29),
to take this number of photographs each second. It was a relatively simple matter to adapt
the kind of mechanism used in a sewing machine, which had been invented in the 1840s.
The last piece of the technological jigsaw to be developed was the flexible celluloid
emulsion-coated strip which could weave its way through the motor without breaking.

Early experiments such as those of Eadweard Muybridge and Jules Marey (who were
interested in studying movement rather than inventing film) in the 1880s had generally
been carried out with non-flexible plates, but in 1888/89 George Eastman developed the
first flexible film, made first of paper, then celluloid. He christened this 'Kodak'.

Over a century later it is too easy to forget how established much of the early technology
was to become. Although the Lumiere camera-projector was hand-cranked (and so could
be used in the most remote locations with no need for electricity), basic camera technology
had changed little a century later; the four-sprocket 35mm film developed by Edison has
remained standard and the earliest films can easily be shown on the most modern film
projectors.

Initially, cameras were static, and most movement was restricted to panning and tilting

22
from a fixed tripod. There were early experiments such as placing the camera on a boat or
a train; the Lumiere brothers and D.W. Griffith moved their cameras, but to a limited extent.
The cinematographer of F.W. Murnau's The Last Laugh (Der letzte Mann, 1924), Karl
Freund, however, was the first to move the camera backwards and forwards, up and down
and side to side, to great dramatic effect. The style of German Expressionism (of which
Murnau was an exponent) gradually found its way into Hollywood film.

The introduction of sound, however, introduced particular problems for camera movement.
Omni-directional microphones often picked up the sound of the noisy camera. As a
result, cameras were encased within soundproofed, static 'iceboxes', which limited
movement, allowing only 30-degree tilts and pans.

During the 1930s, dubbing or post-synchronization released the camera from its icebox.
Camera mobility was further facilitated by the invention of the blimp - a lightweight,
soundproof casing that muffled the whirr of the camera's motor. Tracking was made easier
by the introduction of a wide range of camera supports, manoeuvrable dollies and boom
cranes. It is alleged that the first actual crane shot was developed for Paul Fejos'
Broadway in 1929, but perhaps its finest moment came in Gone with the Wind (1939)
when the camera tracks Scarlett O'Hara walking among the Civil War casualties at the
railroad station.Crane shots give a remarkable scope of choices to the film-maker; s/he
can follow an actor up a flight of stairs; pass over crowds of people and focus on a single
person; track an individual from a distance; move over obstacles; move off from heights
and into space or provide an aerial view of a scene.

In 1922 and 1923 respectively, 9.5mm cameras and 16mm film stock (in contrast to the
professional 35mm) were introduced, which meant smaller and lighter cameras and less
expensive filming. Cameras became (just about) light enough to be hand-held, significantly
assisting the development of documentary film. During the 1940s, a new generation of
documentary filmmakers became increasingly dissatisfied with the sedate tripod-restricted
techniques of established documentary, and encased the camera in lighter metal to make
it more portable. In 1960, Andre Coutant used a prototype of a silent-running, hand-held
16mm camera to make Jean Pouch's Chronicle of a Summer (Chronique d'un ete); the
new camera was marketed as the Eclair in 1962. This allowed film-makers to move into
areas once too restrictive for filming and allowed close tracking of movement. Hand-held
camera movement produces an unsteadiness which can be used for a variety of effects,
such as 'realism', immediacy or grittiness, as it can represent a character's point of view
or emphasize the camera operator's situation amidst the action.

The introduction of the steadicam by Garrett Brown in 1973 allowed for hand-held-style
shots combined with smooth movement. Rather than using dolly track to produce smooth
camera movement, the camera was strapped to its operator by means of a hydraulic brace
incorporating a series of shock absorbers. This removed the shakes and bumps that
accompanied footage recorded by a hand-held camera, allowing free movement over
rough terrain or where track could not be laid, for example on steps. Steadicam was used
notably to follow Sylvester Stallone running up the steps of the Philadelphia Museum of Art
in Rocky (1976). Its most notable user was Stanley Kubrick, who used it for several
sequences in The Shining (1980).

Advances in camera mobility seem to have been derived principally from aesthetic rather
than commercial choices, the impetus being from the individual filmmaker who desired to
create a certain effect. Indeed, where camera mobility conflicted with commercial
considerations like the introduction of sound, it was readily discarded as sound film was
23
seen to be a greater crowd puller than camera movement.

4. b) SOUND

The transition from silent to sound film was not a harmonious one. Experiments with sound
began with the birth of motion pictures itself and between 1900 and 1925 sound systems
proliferated. The studios, however, were unwilling to invest the sums needed to convert to
sound production and they did not want to tamper with a profitable business. Initially, it was
feared that conversion to sound might herald the collapse of the film industry itself. New
sound studios would have to be constructed, cinemas would have to be wired for sound,
a huge back catalogue of silent films would become redundant, the foreign market would
collapse as easily translated titles would have to be dubbed and stars would need to be
retrained.

Sound was also vigorously opposed by film theorists and directors such as Munsterberg,
Arnheim, Chaplin and Kurosawa, who felt that cinema might be permanently hindered by
the public's fascination with a passing fad. Two studios, however, perceived the situation
somewhat differently, acknowledging that sound enhanced the film-viewing experience,
but that full-scale pit orchestras and Wurlitzer organs were too expensive. After the First
World War, the search for a cheap but effective way of recording film sound intensified.
Fox Film Corporation began developing their own sound system - Movietone - at the
same time as Warners, believing that the introduction of sound in their studios and
cinemas would allow them to compete with the pit orchestras of their rivals, had acquired a
sophisticated sound-on-disc system called Vitaphone.

In 1926 they presented Don Juan in Vitaphone followed by The Jazz Singer in 1927,
heralding the introduction of sound in terms of music and effects. Just prior to The Jazz
Singer, Fox had presented Sunrise (1927) using their competing system, Movietone.
This sound technology, however, was only single-track, meaning that it was not possible
to have both soundtrack music and dialogue at the same time. Audiences, therefore,
still had to wait for speech, as the dialogue-only sections of the film were still
communicated by titles. Warners, though, shrewdly allowed some of Jolson's ad-libbed
dialogue to remain in the finished film and audiences were amazed not only by the singing
and dancing Jolson, but also by his informal and spontaneous speech. At one point, he
tells the audience, 'You ain't heard nothing yet.' The Jazz Singer was an international
success grossing over $3.5m.

This was followed by the release of The Lights of New York - the first completely sound
commercial film - in 1928. The popular success of these films showed that sound attracted
large audiences and, therefore, could not be ignored. In a bid to catch up with Fox and
Warners, the other studios rapidly converted to sound production. In part, the impetus was
economic. Audiences had been declining since 1926, 1927 had been a bad year for
Hollywood (with the exception of Warners) and the forecast for the following year was
worse. The public seemed to be bored by formulaic production methods and heavily
promoted stars. In addition, cinema was facing competition from the wider availability of
cars and radios.

Following the Wall Street Crash of 1929, the United States was thrown into an economic
depression which further affected the film industry, and sound was the new attraction to
24
lure audiences back into the cinemas. By 1932, silent films had been largely forgotten and
'talkies' helped to distract American audiences from the harsh realities of everyday life.
The major Hollywood studios were also keen to extend their grip over the film industry
abroad and so began converting European cinemas to sound in order to capitalize on
sound's popularity. The UK, in particular, became the major foreign market for Hollywood
sound films. The effect of sound on the film industry was radical. The camera's mobility
became restricted as it now had to be enclosed in a soundproof booth, actors were
grouped around concealed microphones, and close ups and complex editing were all but
abandoned.

Many silent film stars lost their jobs as their voices were not adequate and they were
replaced by a new wave of Broadway actors, accompanied by scriptwriters who could
write dialogue - the 1952 musical comedy Singin' in the Rain addressed exactly this
subject. Sound led to the creation of new genres and the decline of old ones. The
comedies of the Marx brothers and W.C. Fields replaced those of Charlie Chaplin and
Buster Keaton. Musicals, in particular, benefited immensely from the developments in
sound technology. Initially, musicals were little more than unsophisticated, photographed
versions of Broadway productions, but they developed so quickly that by 1933 they had
become a major Hollywood genre.

The acoustic interiors of cinemas were transformed from concert halls to spaces with
fewer echoes, thus increasing the comprehensibility of the dialogue. By the mid-1930s,
soundtrack dubbing (whereby other soundtrack elements like music and sound effects
would automatically be lower in volume under the recorded dialogue) and post-
synchronization (post-recording sound, particularly dialogue, after the film has been shot
and edited so that the new sound is synchronized with the on-screen images) had been
perfected. This allowed filmmakers to include overlapping lines, off-screen dialogue and
voice-over narratives. Films could now be dubbed into foreign languages easily, which
meant that Hollywood films could be enjoyed around the globe.

Initially, the soundtrack was recorded on discs that were synchronized with the film, but
this proved to be unreliable and gave way to the optical recording of sound onto the film
stock itself. By the 1950s this was in turn replaced by sound recorded on magnetic tape
and played back in optical stereophony to accompany the new widescreen formats.
Indeed, it was the arrival of these formats that led to the almost total conversion from
optical to magnetic sound recording. In the following decade more improvements such
as the Dolby System were developed; this reduced background noise, producing better
fidelity for the soundtrack.

Sound designer Walter Murch pioneered the use of sound technology to revolutionize film
soundtracks in such a way that music and other sound effects combined with visual
images to produce a harmonious whole. Using multi-track sound, Murch filled the cinema
with noise, for example, the synthesized whirr of the helicopter blades in Apocalypse Now.
Such techniques, though taken for granted today, were innovative at that time.

Originally stereophonic, Dolby has now become Surround Sound, filling cinemas with
sound effects and music from speakers located both to the side and to the rear of the
audience. During the 1980s two rival systems were introduced: George Lucas' THX Sound
System, premiered with his Return of the Jedi in 1983, and Digital Theatre Systems, which
is by far the more popular format. Currently, in 2000, sound is being digitized, which has
made post-production simpler and more flexible while giving greater clarity, resonance,
range and fidelity inside the cinema. Although some films are still released with only an
25
analogue soundtrack, more and more are released for digital audio systems. In the early
days of film sound, dialogue and singing were privileged, but newer sound technology
allows the recording of multi-track sound, of complex layers on the same soundtrack. Now,
sound, music and dialogue can co-exist, lending a heightened 'realism' and greater
emotional power.

4. c) COLOUR

Again, as was the case with sound, colour technology was experimented with from the
earliest days of the cinema (Melies hand-tinted his films), but was rarely used because
of technical difficulties, the time-consuming nature of hand-colouring and the expense
involved. Even the commercial success of Technicolor's first two-strip feature, The Toll of
the Sea (1922), did not lead to a major conversion to colour production; nor did use of
improved Technicolor in films like On with the Show and Gold Diggers of Broadway (both
1929).

By 1932 production of Technicolor films had all but stopped as audiences were
unsatisfied with the two-colour process, but in 1934 Technicolor bounced back with
Rouben Mamoulian's Becky Sharp, using a three-strip of cyan, magenta and yellow. Its
commercial success led to the release of further three-colour films culminating in Gone
with the Wind (1939) and The Wizard of Oz (1939), the latter of which dramatically
highlights the transition from black and white to colour as Dorothy enters the
fantastic land of Oz.

Earlier, in 1937, Walt Disney had released Snow White and the Seven Dwarfs - the first
animated colour feature film. The commercial viability of colour had been established, but
its rise was interrupted by the onset of the Second World War. Film-makers began to use
colour widely during the 1950s for two main reasons. First, the newly developed
Eastmancolor was both cheaper and more convenient and had successfully challenged
Technicolor's monopoly. By 1953, it had replaced Technicolor as the most widely used
colour film stock. Second, the increased competition from television is the primary
explanation for. Hollywood's speedy shift from black-and-white to colour production
between 1952 and 1954.

The major studios attempted to respond to the advent of television, which had enticed 30
per cent of the cinema-going audience away from the big screen, by singling out and
highlighting film's advantages over black-and-white television: size and colour. In 1947
approximately 12 per cent of Hollywood's films were in colour, but by 1954 this had
increased to over 50 per cent. Nonetheless, by the end of the 1950s 50 per cent of
Hollywood films were still in black and white, which was only abandoned when television
converted to colour in the 1960s.

Although colour had become the norm for high-budget productions, low-budget films,
particularly the independent science fiction and horror B-movies of the 1950s, tended to
remain in black and white primarily as a result of commercial considerations. Since the
1950s, colour cinematography has vastly improved in subtlety and sophistication and
today the overwhelming majority of mainstream commercial films are in colour. Those that
remain in black and white are so either for financial reasons (e.g. independent films like
Clerks, 1993) or for aesthetic ones (e.g. Schindler's List, 1993). Such aesthetic choices
are also often linked to 'diegetic motivation': the choice between black and white and
colour can be explained in terms of the narrative. The black-and-white verite-style footage
26
in The Blair Witch Project can be 'explained' as student research material.

4. d) DEEP-FIELD PHOTOGRAPHY

Just as there was for sound and colour technologies, there was a gap between the
technological possibility of deep field photography and its acceptance and use. Deep field
photography had always been possible in sunlight and even the Lumiere brothers had
used it, but Hollywood cinematographers resisted departures from the established style of
soft tonal qualities and shallow depth of field. The emergence of deep focus
cinematography as an acknowledged visual style is usually dated to Gregg Toland's
cinematography for Citizen Kane (1941), but Jean Renoir had employed deep focus in the
late 1930s (La Grande illusion, 1937; Rules of the Game/La Regie du jeu, 1938), as had
John Ford in Stagecoach (1939). But it was Citizen Kane that introduced the technique to
the wider public.

Deep field cinematography simultaneously keeps all planes of an image - foreground,

middleground and background - in equally sharp focus, giving the viewer the whole
scene without guiding his/her attention. In contrast, shallow focus guides the audience's
viewing by emphasizing a single plane of the image, usually the action, behind or in front
of which everything else is blurred. The emergence of deep field photography can be
traced to two main considerations.

The first factor in the use of deep focus was the rise in photojournalism and the social
realist and documentary film movements of the 1930s. Influenced by these movements,
filmmakers increasingly made an aesthetic decision to replicate the perspective and
realism of this photographic style. The second factor was the availability of new filmmaking
equipment. From the mid-1930s to 1939, improved carbon arc lights replaced the silent
Mazda incandescent tungsten lamps (another side-effect of the coming of sound), and
faster film stock (which was more sensitive to light), enhanced emulsion types and new
lens coatings allowed light to be used more efficiently, leading to more effective screen
illumination, image contrast and sharpness of focus.

These technological developments enable a fast shutter speed to be combined with a

small aperture, which results in deep focus. Although the use of deep focus seems to
derive from an aesthetic choice based on the accessibility of new technology, an economic
dimension on the part of the studios can alsobe observed as they strove to improve their
market position by developing a new look for their films.

4. e) PROJECTION TECHNOLOGIES

Since the earliest days of film, film entrepreneurs have struggled with different ways of
exhibiting films. Projection refers to the process whereby photographed images are
projected on a screen (and thus enlarged) so that their rapid consecutive appearance
creates the illusion of movement through persistence of vision. It was the Lumiere brothers
- whose ownership of a factory manufacturing photographic materials was no doubt a
great help - who developed the projection system which immediately spread all over the
world. The remarkable feature of the system was its simplicity and compactness: the same
basic hand-cranked motor served to operate both the camera and the projector, which
27
formed a portable unit. The same system could also be adapted for developing and
printing the film.

In the first year of their operations, the Lumiere brothers trained several dozen camera
operators/projectionists, who promptly travelled to all parts of the world, where they filmed
the early 'actualities', developed and printed the film themselves, and often projected the
results for the amazed locals. During the silent era films were filmed and projected at the
rate of 16-20 frames per second (fps), the speed being variable as the motor was at first
cranked by hand. With the advent of sound and the need for standardization to enable
sound-image synchronization, a common speed of 24 fps was agreed on (and for films
converted to video this has become 25 fps). This is why characters in silent films screened
at 24 or 25 fps seem to move so quickly!

4. f) WIDESCREEN

Widescreen refers to any film screening for which the ratio of the width of the projected
image to its height (called the aspect ratio) is greater than 4:3 or 1.33:1 -the standard
ratio used in the industry from silent film until the early 1950s, also called the Academy
format. During the 1920s there were experiments with several different widescreen
systems in Hollywood, such as Magnascope, Fox Grandeur, Vitascope and 70mm Wide
Film, but these processes were expensive and did not provide high quality pictures.

Meanwhile, in France, Napoleon (1927) was screened using 'Polyvision', whereby three
projectors showed a triptych of images across three screens to create a panoramic shot.
This process was improved in 1952 when Cinerama (based on Gance's Polyvision)
introduced a curved screen, stereophonic sound and three projectors. The screen went
beyond the field of vision, which is 160 degrees, giving the illusion that the audience was
actually 'in' the film. In the following year, 20th Century Fox brought out The Robe using its
cheaper widescreen alternative, CinemaScope, which required only a single camera with
a special anamorphic lens (again such lenses had already been made in the nineteenth
century) that squeezed an image onto standard 35mm stock, which was then stretched
back to its original format during projection. Screens were double the width of the normal
screen and slightly curved to give the illusion of depth.

CinemaScope was so successful (by 1955 more than 20,000 cinemas around the world
had installed it) that foreign companies copied the system, using similar names Franscope
(France), Ultrascope (Italy), Agascope (Sweden), Sovscope (USSR) and Tohoscope
(Japan). Paramount responded by introducing its own process, VistaVision, and this was
soon joined by Todd-AO. From 1960 onwards, however, Robert Gottschalk's Panavision
gradually superseded all of these widescreen processes, so that it is now almost the only
process used in 35mm widescreen filming.

Despite its expense and difficulty of use, the studios were keen to invest in widescreen
during the 1950s because audiences, unable to resist the allure of television, were
declining: cinema attendance dropped from 90m per week in 1948 to 51m in 1952. It has
also been argued that during the post-war period, American audiences had a greater
choice of leisure activities and many were now moving to the newly established suburbs,
away from city-centre cinemas. As a result, films had to engage their audiences in a more
spectacular fashion.

The 1950s widescreen, employing a ratio of at least 1.66:1, provided a visual experience
28
that television could not emulate, and this was exploited by film-makers. The new, altered
screen formats led to a dramatic change in mise en scene as directors began to use
horizontal space much as depth of field was explored during the 1940s. Editing became
secondary to shooting long, uninterrupted scenes, as each frame was now wide
enough to display a close up, a medium shot and a wide angle simultaneously. The
viewer was involved in the space of the film and brought closer to the action with a greater
immediacy than ever before. Particular genres, such as historical or epic dramas (The Ten
Commandments, 1956) and westerns (The Searchers, 1956) became natural choices for
the widescreen format. Indeed, post-studio system Hollywood's taste for the blockbuster
was facilitated by the new technology.

4. g) 3D

3D, whereby the three-dimensional illusion of depth is created by making the

foreground stand out in relation to the other planes of the image, was experimented with
as early as the 1920s. It did not take off, however, until the 1950s, when Hollywood used
the technology as a further ploy to draw audiences away from their TV sets and back into
the cinemas. In 1952, 3D projection called Natural Vision was introduced with Arch
Obeler's Bwana Devil, and 69 Natural Vision films were made by the end of the following
year. Other studios released 3D productions and soon more technical innovations were
pioneered: Vistarama, Superscope, Naturama, AromaRama and Smell-0-Vision.

These processes, however, were flawed, expensive and failed to attract a lasting
audience. They were novelties that were deemed not to be worth the expense and they
died out after a few years. During the 1960s, the main advance was the new optical
system, Panavision, which allowed 35mm film to be enlarged to 70mm width without the
need or expense of wide film production.

4. h) SPECIAL EFFECTS

The desire to create artificial yet plausible worlds for their films has occupied filmmakers
since the beginning. This led to photorealism, the attempt to produce images of
photographic appearance and quality. Melies developed 'trick film' or special effects for
his films during the first years of cinema, but though special effects were attempted, often
they were not very photorealistic. Even 60 years on during the 1950s, for example, the
science fiction genre, which relied heavily on special effects to create its extra-terrestrial
props and settings, was relegated to B-movie status because of the poor quality of these
effects. It was not until 1968 that Stanley Kubrick was able to create a Virtual reality', and
in doing so he revolutionized the genre and the use of special effects. His 2001: A Space
Odyssey was the product of innovative use of sophisticated technology such as blue
screen photography, travelling mattes, scale models and front and rear projection.

Kubrick set new standards and it was almost a decade before anyone attempted to
emulate him. George Lucas' Star Wars used computer-co-ordinated camera movement to
produce a seamless fusion of special effects and live-action footage. By the end of the
1970s film had integrated special effects, which had originally begun as mere spectacle,
as central to both narrative and mise en scene.

4. h) 1. CGI
29
It was not until the 1980s, however, that computer technology had advanced sufficiently to
allow filmmakers to incorporate wholly computer-generated imagery into their films.
Disney's Tron (1982) was the first film to combine live-action footage with 3D CGI, which
took up a total of five minutes of screen time. The film both used and reflected upon this
use of CGI, as its protagonist was a computer whizz-kid trapped inside his computer.
Although the film's mise en scene was relatively primitive and based on limited technology,
it had a profound effect on filmmaking, in particular in the science fiction genre.

In 1989, a vastly improved CG effect known as morphing appeared in James Cameron's

The Abyss in the form of a fluid 3D seawater creature, known as a 'pseudopod', capable of
mimicking any organic or artificial form in its surroundings. At that time, morphing was an
experimental process and the creature only appeared in the film's climax. In 1991,
however, Cameron advanced this technique to an entirely new level of impressiveness
in his sequel to Terminator (1984), 12: Judgement Day (1991). In T2, Cameron
introduced the T1000 cyborg - a humanoid android capable of morphing into almost any
animate or inanimate thing - as a central plot device. Not only did the T1000 appear
throughout the film, but the quality of its morphing was also extremely sophisticated.

Throughout the 1990s, many films incorporated CGI into their narratives; often the special
effects themselves became the main feature. In 1993 Steven Spielberg's Jurassic Park
created the first CG dinosaurs and the following year The Mask employed some of the
same tools to produce effects that had previously only been seen in animation. CGI is also
used in post-production to add colour, to remove support wires used for stunts, to insert
images or to integrate separate photographic images into a film. This is known as
electronic compositing - the manipulation of film images. Forrest Gump (1994), for
example, uses computer and digital technology to place its eponymous hero in a variety of
historical settings with a range of historical characters.

Since then, CGI has made unlikely, and probably unobserved, appearances in many films,
such as Elizabeth and Waking Ned Devine (both 1998). Perhaps the high point of digital
and computer technologies during the twentieth century came with Titanic (1997) and The
Matrix (1999). In the former, the entire ship is resurrected from the seabed and brought
back to life, whereas in the latter, the protagonist, Neo (Keanu Reeves), is seen to walk up
walls, hover through the air and dodge missiles in 'a breathtaking mode of temporal
mangling known as "bullet time'" .

'Bullet time' is the appearance of people or objects being suspended or moving slowly in
mid-air while the camera seems to track around them to give different visual perspectives.
The effect is achieved by placing a large number of still or movie cameras in an arc around
the subject, then operating them at exactly or almost the same time. The almost
simultaneous shots from each camera are then edited together and synchronized using
computer technology to create the impression of a camera tracking round the subject while
it is suspended, or moving slowly, in mid-air.

4. i) THE FUTURE

In a famous essay in 1949, Andre Bazin characterized the advance of film technology as
an inevitable and graceful progression towards greater screen realism. In doing so,
however, he ignored the socio-economic context in which each development was
grounded. Up to that point, the prime impetus behind each major technological innovation
30
had been commercial rather than aesthetic, as enterprising studio heads recognized new
technology as a means to maximize profits while simultaneously distinguishing their
product from the competition.

Computer and digital technologies have advanced further than any other innovation over
the past 20 years. If they continue to progress at this rate, the age of complete 'realism',
with CG images more realistic and more 'real' than the world we inhabit, may soon be
achieved. Will this signal the end of traditional actors and settings?

Casper (1993) featured the first CG talking lead figure while The Phantom Menace (1999)
depicted another CG character in Jar Jar Binks. While in Casper the character was merely
a friendly ghost, the huge leaps in computer and digital technology suggest that it may be
the beginning of a new trend. Eventually, special effects technology will be able to replace
live actors with resurrected dead stars, while any setting will be creatable within a
computer.

Although current technologies may point to such developments in the future, will they
manage to achieve the level of 'realism' that many demand?

31
 5. THE BASIC STEPS OF FILMMAKING

This chapter will examine the process of making and showing a film, from original idea to
the actual screening. This means tracing the life of a film from its earliest stages of finance,
preproduction, production and post-production while explaining key roles in the film
industry.

Filmmaking is the process of making a film, from an initial story idea or commission
through scriptwriting, shooting, editing and finally distribution to an audience. Typically it
involves a large number of people and can take anywhere between a few months to
several years to complete. Filmmaking takes place all over the world in a huge range of
economic, social and political contexts, using a variety of technologies and techniques.

Film production, distribution and exhibition have become global phenomena, yet the job
titles and what they represent tend to differ from country to country, or in fact, not even
exist in some parts. This overview is intended to be a generic listing of basic filmmaking
steps, applicable to most of the European countries and the U.S.

They key member of a film crew is the producer. It is his job to secure finance for the film
and then to supervise its expenditure. The producer is involved in every stage of a film's
development from conception to exhibition and is engaged in the film longer than any other
person; this continuity is essential for effective production. The producer deals with the
idea, which may originate from a writer, director, producer, book or play, and must clear the
screen rights for the material and then secure finance by assembling a package that
includes an outline script (detailed storylines, possible stars, and locations), proposed
budget, a storyboard of several scenes, the director and any potential stars. The producer
presents the package in such a way that it stands out from the competition in order to
attract investment.

This process of selling the package is known as the pitch. A successful package will not
only appeal to financiers and investors; it will also reassure them that a return on their
investment is possible. If the pitch is successful, a deal is struck between the producer and
the investors.

The producer attends and supervises all following stages of production: pre-production,
production, post-production, and promotion.

5. a) PRE-PRODUCTION

This is a process of preparation starting once the funding has been secured. It is when the
film can enter the first stage of its life. Research and planning for production can begin and
32
development money is used to develop the outline script. The producer then assembles a
complete package, overseeing and assisting in the hiring of the director and technical
crew, in casting and in choosing locations.

It is now the task of the producer to steer the film into production, and his/her role
can be summarized as the conduit between the idea, the script and the marketplace. The
producer has overall responsibility for production and mediates between the film and its
financiers, yet beyond this the role is not precisely defined and can vary considerably.
Some producers take a 'hands on' approach during production while others delegate to an
associate producer who directly supervises the daily shooting. Sometimes there is a credit
for an executive producer, usually the head of a studio or a production company, who will
not be too closely involved as s/he will be supervising several films in various stages of
production.

The producer works closely with the director. A good working relationship between them
is essential to the film's smooth progress, for where the producer is responsible for
financial decisions the director is only concerned with artistic and technical ones. Since
filmmaking is so expensive, a great deal of time and effort is spent meticulously planning
and scheduling the shooting of the film in order to ensure that it runs as smoothly as
possible.

Planning covers all of the activities involved in preparing, editing and filming the script,
including casting, finding locations, hiring technicians and other crew, organizing
insurance, designers, accommodation and travel equipment. During preproduction the
script will have been developed into a detailed screenplay, which is broken down into
scenes and then storyboarded. This involves visualizing the script's narrative in a series of
drawings that indicate the content of each shot and may also include audio information
and camera instructions.

A shooting schedule is then prepared, and before filming begins a production script is likely
to be required. This not only gives script information but also provides written details on
how the script is to be filmed, such as camera instructions, further audio information and
guidance to actors. Once production has begun, a more precise budget than that proposed
during the pitch will be finalized. Budgeting is divided further into above-the-line and
below-the-line costs. Above-the-line costs include the salaries of the director, actors and
crew whereas below-the-line costs refer to any other expenditure such as film stock,
equipment hire, hotel costs, food, scenery and costumes.

5.b) PRODUCTION

Production is the actual process of shooting the film. It is usually the most expensive stage
in a film's life as it involves a large number of staff; hence the long credits at the end of a
film! If the planning during preproduction has been carefully done, then the production
should run smoothly and according to schedule. This is not always the case, however, and
length of production varies from film to film. Kevin Costner's Waterworld (1995), for
example, ran well over schedule and budget as it involved filming on the open sea subject
to favorable weather conditions

Some of the most important roles in production are:

• The producer
33
• The line producer is responsible for the daily running of the production, in particular the
day-to-day budget.
• The scriptwriter develops the original script/screenplay. Some films may employ more
than one writer as the script is written and rewritten even as the film is being shot (see
the section on Casablanca, p. 14).
• The director is the individual responsible for translating the script into a film. Arguably
s/he is the most important individual on the set. S/he usually takes the artistic decisions
regarding camera angles, type of shot, shot length, lighting, how the actors should
interpret their roles, and editing. As with the producer, the role of the director varies
according to each individual. Some may be described as metteurs en scene, basically
skilled technicians, while others are referred to as auteurs - more like artists who attempt
to stamp their own personal imprint upon the film (see Chapter 9 on Authorship).
• The art director or production designer is responsible for set design (mise en scene) and
graphics.
• The cinematographer is also known as the director of photography or lighting cameraman
and is responsible for the look' of a film, as s/he is in charge of camera technique.
S/he translates the director's vision onto the screen, advising the director on camera
lenses, angles, lighting and special effects.
• The costume designer conceptualizes and supervises the characters' outfits and works
closely with the art director.
• The casting director selects and hires the support cast and negotiates fees with agents.
• The camera operator physically operates the camera under the guidance of the
cinematographer.
• The assistant camera operator will help with camera movement, setting up the camera
and operating controls, such as 'pulling focus'.
• The assistant sound technician will often be involved in operating a boom microphone,
which is directional, meaning that it only picks up sound from the area the operator is
pointing it towards.
• The locations manager finds suitable locations for filming and negotiates their use.
• The unit publicist promotes the film during production and collects useful publicity
materials.
• The sound technician is responsible for the complex process of recording sound. When
recording 'live' sound during filming, recording levels have to be set low enough so as
not to introduce distortion and high enough so that dialogue can be heard. Sound checks
are carried out before recording.
• The gaffer is responsible for the lighting under the direction of the cinematographer.
• The best boy is the gaffer's assistant.
• The key grip is in charge of all other stagehands, who are known as grips.

5. c) POST-PRODUCTION

The final part of the overall production process is post-production. Once approved, the
rushes (film shot that day) will be sent to the editor, who will begin to put together a rough
cut of the film. Once filming is complete, the shots are selected and put together to form
the completed film. All recorded material is logged; shot and take numbers are indicated
with times, descriptions of each shot and appropriate comments on the quality of each
take.

The completion of the log sheet is followed by an edit decision list. This identifies the takes
that have been selected for the final edited film, gives their order and includes any other
information that is needed at the editing stage. Editing is the process of joining together
the chosen takes in the appropriate order with the inclusion of any extra audio-visual
34
material.

5. c) 1. FILM EDITING

The role of the editor is possibly the most important in imposing a narrative structure on
the film. S/he supervises the splicing or cutting together of the many rolls of film shot
during production into their final structure and will work closely with the director to ensure
that his/her vision is fulfilled. The editing process includes the selection, shaping, and
arrangement of shots, scenes, sequences and special effects. The editor will assemble a
rough cut from the daily rushes during production, and this will then be refined in post-
production to achieve the finished edit or fine cut.

5. c) 2. SOUND EDITING

The dubbing mixer, much like the editor, assembles a single soundtrack from the multiple
soundtracks recorded during production such as dialogue, music and sound effects (all
sounds that are neither music nor dialogue). During film production sound is recorded
separately from the film, and the two must then fit together so that the sounds match the
images on screen. The soundtracks must also be mixed together at appropriate volumes.
This may involve additional alterations to the tone of dialogue and frequently actors are
recalled (sometimes months after production has finished) to re-record their lines.

Sound effects are the responsibility of the foley team, who create appropriate noises for
the images. The sound is then optically or digitally added to the film stock. The composer
will work closely with the director to achieve the 'feel', atmosphere, mood, tension and
emotion of the film. Frequently s/he will compose and often conduct an original score for
the film in accordance with the director's wishes. Increasingly soundtracks are assembled
from existing popular and classical music. The sound designer creates sounds for the film,
many of which are specially created as they are not reality/earth-based (e.g. spaceships,
extraterrestrial beings, etc.).

5. c) 3. SPECIAL EFFECTS

The Special Effects Department creates a range of illusions to enhance the film that are
unobtainable during production. These involve using optical effects such as front and rear
projection, models, mechanical or physical effects such as fires, explosions, flying or falling
objects, and increasingly computer-generated imagery. Graphic artists work on the titles
and credits of the film.

5. d) PROMOTION

5.d) 1. DISTRIBUTION

Once the director has approved the final cut, a preview screening is arranged for the
distribution company. The distributor aims to exploit the film in order to profit from it or at
the very least to recover the initial development and production costs. Effective distribution
is fundamental to the film's success and many potentially prosperous films have failed at
this point. In order to make a profit, a film must make roughly two and a half times its
production costs at the box office. A distributor can acquire the distribution rights to a film
by investing in it, by buying the rights after it has been made, or by being part of a larger
company responsible for both production and distribution, such as a major Hollywood
studio.
35
Often the rights to distribute the video are acquired at the same time, which is a large
source of revenue. A distribution company is subdivided into Publicity and Marketing
(promotion), Film Sales (booking films into cinemas) and the Print Department (making
copies of the film). Based on an estimation of what a film will make at the box office and
through rentals, the print and advertising budget (referred to as the P & A budget) is
created for marketing. This determines the amount the distributor is able to spend on
promoting the film and getting it into cinemas. Again this is divided into above-the-line
costs, such as advertising, and below-the- line costs such as publicity, merchandise and
flying in the stars.

The distributor typically receives about 40 per cent of box office revenues, 30 per cent of
which is spent on marketing, promotion, prints, certification and administration. Any money
left over will then be paid to the producer, who will in turn pay the film's investors, artists,
creditors and crew.

5. d) 2. CERTIFICATION

Before a film can be screened to a paying audience in Britain it is a legal requirement that,
for example, the British Board of Film Classification (BBFC) classifies it. In the United
States there is a similar rating system which, although not a legal requirement, makes it
unlikely that a film will be screened without a certificate. Certification is important when
targeting an audience since it will determine the age of the audience at which the
marketing will need to be pitched. A distributor may want to maximize the potential
audience and aim to achieve a particular classification, as lower categories are on the
whole believed to be more commercially advantageous.

The producers of the Bond films targeted the young teenage audience throughout the
1990s. In another instance, the distributors of The Mummy (1999) (Universal) wanted a
'12' certificate for the film in the UK, but a hanging scene was deemed too graphic for such
an audience. Universal were given a choice either to cut the offending scene or accept a
higher classification. Since Universal wanted to maximize the potential audience, it cut 14
seconds from the scene and got its '12' classification.

5. d) 3. MARKETING

Once a film is finished it becomes a product - something that needs to be sold. The aim of
marketing is to raise awareness of the product. Audiences must be informed that a film
exists, their interest in it must be aroused and they must be persuaded to go and see
something they neither necessarily need nor want. This is the job of the distributor.

Marketing a film often begins months before a film is released, creating anticipation in
audiences that it is coming to a nearby cinema soon. The distributor devises a marketing
strategy so that the film finds its audience, and needs to determine the prime target
audience at which the film will be aimed. In order to do this the distributor conducts
audience research.

Preview screenings are set up whereby the distributor can receive a range of opinions and
reactions to the film, which can be a good indication of the prime target audience. The
distributor will also turn to regular weekly research known as tracking undertaken by a
National Research Group.

36
The process of marketing can be divided into three areas.

• Advertising: the distributor devises an advertising campaign using trailers, posters and
radio, newspaper and TV spots, all of which are carefully tested. Interviews are conducted
to ascertain a response and TV and radio slots are scheduled in order to reach the
target audience. The campaign must be consistent so that the audience receives a single
message about the film. Usually this message is based around a film's unique selling
point (USP) - that single thing that differentiates it from other films - which could be the
director, the stars, the plot or the special effects. Trailers are particularly important as
they allow audiences to sample the film first hand. An effective trailer will generate interest
in a film while a poor one may dissuade viewers completely.

• Publicity is free advertising that either cannot be bought or is too expensive to buy, such
as the front pages of newspapers, magazine covers (see Figure 2.4), newspaper
editorials, television and radio coverage. This involves press kits for journalists,
photographs, star interviews, press screenings, gala premieres and free public screenings.
New films can gain valuable publicity at film festivals held around the world, such as
Cannes and the Sundance Festival.

• Promotional merchandising has become an important feature of marketing films

following the phenomenal success of Star Wars (1977). Video sales and rentals are
important, but initial budgets are now also recouped by sales of promotional
merchandising, tie-ins and Original Sound Tracks. This has been accelerated by the trend
towards conglomeration in the film industry, as a film is now often perceived as only one
part of a product line of toys, clothes, food and drink, video and computer games, novels,
comics and other spin-offs. Sales of these items also help to promote the film, while the
film encourages sales of merchandise.

The timing of release is vitally important in determining a film's box office success. Many
factors are taken into consideration: genre, subject matter, and also other films due for
release either by the distribution company or its competitors. The peak release dates are
summer and winter holidays as these provide maximum leisure time for families. The Blair
Witch Project was released in the UK to coincide with Halloween. The release may also be
timed to coincide with the Oscars or other film festivals as these can have an important
impact on box-office performance.

20th Century Fox deliberately delayed the release of the controversial Fight Club (1999) in
order to avoid the Senate hearings on how to curb violence in films and thus to evade any
adverse publicity that the film may have received. Ultimately, however, despite the best
efforts of those promoting and marketing the film, it is the public who decides if a film will
be a success or not.

5. d) 4. EXHIBITION

The next stage in a film's life is where the real money is made. Exhibition is the key stage
since it is the first outlet for the film product and is where the distributor earns revenue
from the public. Exhibition is essential to a film's success, as it is the shop window in which
films are sold to their audiences. A film must also, therefore, be 'sold' to the exhibitor, who
works very closely with the distributor to promote the film to an audience.

Once the exhibitor has viewed the film, a release pattern and financial deal will be
arranged to rent the film from the distributor. It is the task of the film booker to find films
37
that will attract an audience and in turn create large box-office returns, and usually the
exhibitor and the distributor will work together closely to ensure this. Mainstream films are
usually booked between three and six months prior to release, but sometimes they can be
booked up to a year in advance. The exhibitor will then advertise the film locally in order to
attract as large an audience as possible. This will be done through listings in local
magazines and newspapers, posters, competitions, trailers and other promotional material.
Once the audience member has paid for his/her ticket, the cinema typically subtracts about
60 per cent to cover its running costs (the 'house nut') and its profit margin. The rest (about
40 per cent) is paid back to the distributor.

38
 6. THEORETICAL APPROACHES

6. a) TERMINOLOGY ASPECTS

Terminology is the study of and the field of activity concerned with the collection,
description, processing and presentations of terms, i.e. lexical items belonging to
specialised areas of usage of one or more languages.

Every practice area, whether it has to do with science, art, religion, culture, crafts or social
behaviour, has throughout time formed its own particular language with the joining of
distinct expressions, terms and symbols. It takes being a part of such a subject field to
understand the exact use of these languages, these foreign tongues grammar generally
calls terminologies.

Terminology can either be special technical language or slang. It is a common thing for
specially trained people to take their new found vocabulary for granted as oposed to
unskilled people who might not fully understand them without propper explanations. For
example, without being aquainted with the language and terminology of economics, one
would have no shot in being in touch with business trends.

Specialized language, as oposed to general every day language can clear-up

ambiguousity in particular areas of knowledge, considering how basic regular terms have,
in cases, become the representatives of more than one object. For example, the term
„dolly” can define a small human-like toy in general language, whereas in the specialized
cinematic language, a dolly is a type of equipment used to allow better camera movement.
A regular person who never had any contact with the film-making industry, other than
actually whatching movies, would probably glimpse through the end-credits, spot that
particular term and scratch their head in confusion.

Thankfully, with technology speeding into amazing developement before our very eyes,
terminology studying can be quite an accesible means of information. Online data bases
tend to cover up a wide range of practice areas with information coming from all around
the world and particular aspects from different countries. This kind of afordable tool is
priceless for the modern man, especially when professional grouth has become the key
aspect of our lives.

6. b) THE GLOSSARY

Inspite of this huge research capacity the internet is offering us, what i have noticed in
particular with the film-making terms is that, because Romania has had what we could call
a slower start in the film industry, most of the expressions and technical language
39
presently used tends to mirror it's english version.
There are, of course actual interpretations, either official or accepted for each and every
technique, piece of equipment, personell member, and rituals, and if these equivalencies
are not set straight and presented tot he audiance aswell as to the people working in the
actual field, the Romanian cinematic vocabulary might turn out to have a lot in common
with the Romanian advertising vocabulary: an almost complete loan of English terms and
expressions.
This is where, not even the internet can provide fully clear and practical translations for
film-making terms to the wide, knowledge hungry audience.
A glossary is what you would usually find at the end of a book, supporting the written
technical information with extra information about specific kew terms. A glossary contains
from grammatical clues to historical and critical back-up. A bilingual glossary, on the other
hand might contain double the information if you consider the fact that two separate
countries, with two distinct cultures can directly influence the content of practical
information behind one term. Particular words in one language are translated via
synonyms or partial synonyms and explained accordingly to their background in the history
of the specific country's history with the practice field. A glossary is a study aspect of
comparative terminology.

The glossary at hand is a subjective choice more than a research project, due to my
personal love and interest for this fascinating field. It contains 75 English entries and 75 of
their most accurate Romanian equivalents, shaping what a bilingual glossary on
filmmaking terms should look like for a better understanding of the domain at a first glance.

6. c) METHODS OF RESEARCH

To start out such a task as conjuring up valuable information into the shape of a bilingual
glossary on filmmaking, i've resorted to the following methods:
 Propper documentation in the cinematographical field, covering up the early days of
photography, the expanding of the moving picture form Europe to the United States
and the shy but effective participation to this artistical movement of the Romanian
film industry.
 Selecting a range of the most commonly used cinematic concepts in today's
modern industry, trying to highlight the particular departments to which they belong.
 Extracting quotes, contexts and collocations in wich those particular concepts
appera, with distincitve relevance to the film-making field, regardless of their
possible polysemy.
 Analyzing the concepts following a specific structure, based on their definitions,
synonyms, antonyms, generic concepts, trivia and coincidental or differentiated
informational value in Enligh and Romanian.
 Resorting to the aid of of both romanian and foreign specialists contributing to the
filmmaking industry as directos, cinematographers, producers, focus pullers and
video assist operators.

6. d) FIELDS

All the informational material on every entry of this glossary, obtained through technical
documentation and personal experience in the filmmaking world, is structured according to
the following schema of semantic fields:

40
  ENTRY: the concept in question.
 ID LANGUAGE: the language of the entry, English or Romanian
 ID COUNTRY: the country,or countries the entry is used in as a technical concept.
 SOURCE: the document from which the term was extracted or where it was first
detected.
 STANDARD DEFINITION: the necessary and basic information on the concept, as
found in a dictionary or another specialized source.
 DEFINITION SOURCE: the book, online book, dictionaryy, online dictionary or
specialized source containing the definition for the specified entry.
 NOTA BENE: the additional lexical or semantical information added to the definition
of the entry.
 RO CORRESPONDANT: the English or Romanian equivalent or approximate
equivalent of the concept.
 GRAMMATICAL CATEGORY: the morphological information on the concept.
 GENERIC CONCEPT: the class of concepts which superordinates the entry in
question.
 HYPERNYM: similar or related concpts
 HYPONYM: types or derivates of the concept
 SYNONYM/ PARTIAL SYNONYM/ VARIANT: the other lexical form under which the
concept is known according to country and language
 ANTONYM: the opposite semantical value of the concept
 ABBREVIATION/ EXPANSION: the shorter, more technical form of the concept.
 RESTRICTIVE CONDITION: the exclusive use of the term.
 CONTEXT: the piece of documentation containing the concept and related
information.
 CONTEXT SOURCE: the source of the context or collocation of the concept.
 USE AREA/ FIELD: particular fields which have the concept under more or less
definition in use.
 COMMENTARY: the added information on the concept coming from a specialist in
cinematography ( i.e. Camera operator and Director)
 DESIGNATION STATUS: the ooficial or accepted aspect of the concept in the
cinematographic field.

6. e) THE CONCEPT MAP

A concept map is a useful tool for learners who want to actively construct knowledge. You
can call it a blue-print of an informational compendium. The concept map may vary,
shapewise, accroding to the space it is being given, but , basically, the key aspects to
designing one are the cells containing concepts, interconnected through arrouws or
straight links, to form a downward-braching hierarchical diagram.Reading the cells
following the links interconnecting them is just like reading phrases explaining how the
concepts depend on one another. This is what stands at the basis of structural knowledge,
visually describing the relationships between ideas pertaining to the same domain.

The full understanding of a concept map may not be possible without being aware at first
of the terminological meanings of the actual concepts. This is how the existence of both
concept map and glossary can put together practical and sufficient means of answering
ones questions concerning specialized languages.The structure of the group of terms from

41
the concept map is described by a series of properties and/or hierarchical or associational
relations, lexical and/or semantical. This particular concept map has been projected onto
three levels on analysis: the super-ordinate level( the term “ Filmmaking” ), the basic levels
( “ Film development” and “ Film crew”) and the sub-ordinate levels of production, which
are common to both development and crew, and which, in their turn have been branched
into terms depicting job titles and specific filmmaking procedures or elements.

42
43
II. ENGLISH-ROMANIAN GLOSSARY ON

FILMMAKING

44
 ACTION

ID LANGUAGE: Eglish

ID COUNTRY: U.S.A., U.K

SOURCE: www.filsite.org

STANDARD DEFINITION: 1. Specific moment or events previously set by the director,

taking place in front of the shooting camera. 2. It is called during filming to indicate the
start of the current take. 3. Specific type of movie, often containing significant amounts of
violence.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: An action can be anything characteristic to movement, human, animal, or

nature related. The term under the same writing exists and is used in France aswell, under
a different pronounciation though.

RO CORRESPONDANT: Actiune

GRAMMATICAL CATEGORY: Noun/ Verb

GENERIC CONCEPT: Behaviour

HYPERONYM: Act, Activity

HYPONYM: Accomplishment, Achievement, Carrying-out.

PARTIAL SYNONYM: Manifestation

ANTONYM: Cut!

CONTEXT: Clint Eastwood does not yell "Action!" Ever. There's no "Roll it!" or "Cut!" either.
There's no yelling, period. If you're on his crew, you use your inside voice.

CONTEXT SOURCE: http://www.hufingtonpost.com/2008/behind-the-camera

CONTEXT: Movie company is ready to shout ‘action’ in Plymouth. State and town officials
want to fast-track permits for a proposed movie production studio on 1,000 acres of town-
owned land off Route 25, despite some concerns about creating a ‘‘Hollywood East.’’

CONTEXT SOURCE:http:// www.dailynewstribune.com/statex4690

USE AREA/ FIELD: Cinematography, Science

COMMENTARY: It depends on the country, but in Europe "action! " is always called by the

45
director. In the U.S., it's the 1st A.D. who calls it most of the time (following director's
instruction).

DESIGNATION STATUS: Official

ACŢIUNE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.dexonline.ro

DEFINITIE STANDARD: 1.Orice miscare ce are loc in fata camerei de filmat, inclusiv
schimbarea actorilor pe parcursul dezvoltarii actiunii si a cadrelor in care se gasesc
personajele pe care le interpreteaza. 2. Comanda data de regizor sau de regizorul secund
pentru a incepe filmarea unei duble.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Termenul poate defini un anasablu generos de miscari si comportamente

umane, animale sau naturale, dee asemenea, poate da caracteristica unui anumit tip de
film in care predomina violenta.

CORESPONDENT EN: Action

CATEGORIE GRAMATICALA: Substantiv comun

CONCEPT GENERIC: Manifestari

HIPERONIM: Activitate

HIPONIM: Dinamism

SINONIM PARTIAL: Miscare

ANTONIM: Stop, Taie

CONTEXT: Discovery si agentiile media din Romania striga impreuna: ACTIUNE!!! Pe 11

iulie, Discovery Romania a lansat prima editie a Competitiei de Scurtmetraje Documentare
Discovery, invitand agentiile locale de media sa concureze pentru sansa unica de a-si
vedea productiile proprii difuzate pe Discovery Channel. 12 agentii media din Romania au
acceptat invitatia si se lupta acum pentru premiul cel mare!

SURSA CONTEXT: http://www.blogulspecialistului.ro/a/Important/Management-si-afaceri/

546/Discovery-si-agentiile-media-din-Romania-striga-impreuna:-ACTIUNE-.html

CONTEXT: Mi-a fost greu in primele doua saptamani, pentru ca sunt multi oameni
implicati, multa agitatie, lumini, zgomote, iar atunci cand se striga "Actiune", trebuie sa fii

46
gata. Totul e contracronometru. Cu timpul s-au reglat lucrurile, a inceput sa-mi placa
agitatia asta, chiar a devenit adrenalina necesara.

SURSA CONTEXT: http://www.formula-as.ro/2005/667/lumea-romaneasca-24/anamaria-

marinca-6011

ARIE DE UTILIZARE: Cinematografie, Televiziune, Stiinta.

COMENTARIU: In Romania, „Actiune!” poate fi uneori urmat sau inlocuit de „Motor!”

STATUTUL DESEMNARII: Oficial

47
 ANAMORPHIC

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Cinema 1/The Movement-Image, U.K. 1986, Gilles Deleuze

STANDARD DEFINITION: An optical system which has different magnifications in the

vertical and horizontal dimensions of the picture.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: Cinemascope is a tradename of an anamorphic technique, also known as

widescreen.

RO CORRESPONDANT: Anamorfotic

GRAMMATICAL CATEGORY: Adjective

GENERIC CONCEPT: Optics

HYPERONYM: optical system

HYPONYM: lens

SYNONYM: Cinemascope

EXPANSION: Anamorphosis

CONTEXT: A characteristic of anamorphic camera lenses is that out-of-focus elements

tend to be blurred more vertically. An out-of-focus point of light in the background will
appear as a vertical oval rather than a circle.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Anamorphic

CONTEXT: If you've looked at the back of a DVD case these days, you've probably seen
all the bewildering terminology: 16x9, anamorphic widescreen, enhanced for widescreen
TVs… the list goes on and on. They're all referring to the same thing. Simply put,
anamorphic widescreen is a special feature of DVD, that means that the video on the disc
packs the most resolution possible by the TV standards of today and the near future.

CONTEXT SOURCE: http://www.thedigitalbits.com/articles/anamorphic/

USE AREA/ FIELD: Cinematography, Photography

48
COMMENTARY: The anamorphic format is obtained with the particular lens, scqueezing
the rectangular frame into a square one, for better picture quality. Using a 35 mm film with
an anamorphic lens lens you increase the quality of footage shot on 16 mm, keeping the
old, grainy style.

DESIGNATION STATUS: Official

ANAMORFOTIC

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica filmului de la A la Z, Alexandru Marin, 1979

DEFINITIE STANDARD: Tip de lentila care permite unei scene de o mărime considerabilă
să poată fi filmată într-un cadru de mărime standard (care comprimă imaginea).

SURSA DEFINITIE: Tehnica fotografierii şi aparatura de filmare de Paul Alexandrescu,

Alexandru Petculescu, Iuliu Popescu, 1973

NOTA BENE: Termenul provine din grecesul „ Anamorphicos” care se traduce prin „ acela
care este supus transformarii”.eek, "ANAMORPHIC" in English is by consequence "HE
WHO IS BE
CORESPONDENT EN: Anamorphic

CATEGORIE GRAMATICALA: Adjectiv

CONCEPT GENERIC: Optica

HIPERONIM: Obiectiv

HIPONIM: Lentila

SINONIM: Cinemascop

CONTEXT: Este un film cu un parfum deosebit, se întîmplă într-o epocă specială. Da,
cinemascopul a fost opţiunea mea, şi nu numai pentru format. Formatul se poate face şi
pe Super35 ca să obţii acelaşi raport al laturilor. Am optat în primul rînd pentru ce
înseamnă profunzimea obiectivelor anamorfotice care te ajută foarte mult să materializezi
lucrurile în spaţiu, să le dai o personalitate specială.

SURSA CONTEXT: http://agenda.liternet.ro/articol/3087/Iulia-Blaga/Numai-nebunia-

pentru-film-conteaza-Restul-e-tacere.html

CONTEXT: Privind prin acest filtru anamorfotic, imagouirle care, strabature progredient,
erau valorizate pozitiv, acum strabatute regredient, capata un aspect terifiant. Chipul unui

49
tata bun, ocrotitor se metamorfozeaza in chipul unui tata distrugator.

SURSA CONTEXT: 10 Studii de Arhetipologie- Cosmin Braga

ARIE DE UTILIZARE: Cinematografie, Fotografie, Beletristica

COMENTARIU: Prin folosirea aceluiaşi tip de obiective şi la aparatul de proiecţie,

imaginea restrânsă este mărită la un format de 2,35:1 (sau 16:9) astfel rezultând o scenă
care este de două ori mai mare.

STATUTUL DESEMNARII: Oficial

50
 AUTEUR

ID LANGUAGE: EN

ID COUNTRY: U.S.A.

SOURCE: www.geocoties.com/Axiom43/cinematerms.html

STANDARD DEFINITION: A filmmaker, generally a director, who creates a body of work

with a unified sensibility that reveals, through the interplay of themes and styles, a
personal worldview.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term originated with François Truffaut, whose 1954 essay "Une certaine
tendence du cinema français" put forth the idea that the most interesting films were those
that functioned as a medium of personal expression--and therefore bore the distinctive
imprint of their "author." American critic Andrew Sarris later translated and expanded this
idea into an "auteur theory," which proposed an evaluation of films based on their context
within the filmmaker's oeuvre, rather than for their technical proficiency or greater historical
significance. The term "auteur" later came to refer to any filmmaker who performed or was
intimately involved in all aspects of the moviemaking process (writing, directing, producing,
editing, etc.).

RO CORRESPONDANT: Autor

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Art

HYPERONYM: Writer

HYPONYM: Screenwriter

SYNONYM: Filmmaker

ANTONYM: Mercenary director

CONTEXT: If we can continue to read the films as those of an auteur it seems as if Woody
Allen's earlier 'romantic-philosophic' nature has developed into cynicism, if not
misanthropy. Perhaps things that were sublimated at a safe distance in his art, such as
profligate desire (“The best thing is twelve-year old blond girls, two of them whenever
possible”) and how to abide by it (“The artist creates his own moral universe” have

51
perforated screen into life. Instead of seeking change his characters are content to stay
put or cannot see far enough to effect the right sort of changes.

CONTEXT SOURCE: http://archive.sensesofcinema.com/contents/directors/03/allen.html

CONTEXT: With Cronenberg what you get is sui generis, an auteur in the true sense of the
word, a man whose perverse, atheistic, disturbing visions are realized on-screen in a
wholly uncompromising manner. In this book of interviews you get to hear this brilliant,
highly articulate man talk about his films, production, story ideas, influences (Burroughs &
Nabokov, how about that!), diseases and viruses, social mores, the responsibiblities of the
artist, and more. Personally I find Cronenberg a more interesting thinker than other
filmmakers, even ones I like a bit better (Woody Allen, Scorsese), because he's primarily
an intellectual who is not afraid to look at the non-human aspect of his films.

CONTEXT SOURCE:
http://www.amazon.com/Cronenberg-Directors-David/dp/0571191371

USE AREA/ FIELD: Cinematography

COMMENTARY: In general, the auteur is the one who writes and directs a movie and also
gets the final cut. Most of Frech or European movies are "auteur films". Yes, even
Romanian ones. But, in the US the director is most of the time only a technician who
doesn't write or get the final cut. They are only called "auteurs" if they are Woody Allen,
David lynch, Cronenberg etc.

DESIGNATION STATUS: Official

AUTOR

LIMBA VEDETEI: RO

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: 1. Regizorul trebuie considerat adevăratul autor al filmului, având

cea mai mare responsabilitate şi cel mai direct control asupra realizării; un autor este un
regizor cu un stil unanim recunoscut. Autor în industria audiovizuală, este persoana fizică
care participă la elaborarea unui text scris sau la realizarea unei opere audiovizuale. 2.
Orice persoana careia i se recunoaste meritul de a fi ajuns la o realizare pe cont propriu,
fie ea artistica sau nu.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Autor, provine din franceză, fiind rezultat al teoriei introduse în anii ’50 -’60
de către Franςois Truffaut şi editorii revistei Cahiers du Cinéma şi extins de către criticul
american Andrew Sarris.

52
CORESPONDENT EN: Auteur

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Arta

HIPERONIM: Scriitor

HIPONIM: Realizator

SINONIM: Cineast

CONTEXT: Faptul că la Sibiu există o singură sală de cinematograf este de o mare

tristeţe. Faptul că în România nu mai avem Canalul Arte, care difuza filme de autor, este la
fel. Lipseşte, de aceea, şi sursa de difuzare a unor astfel de filme" - a spus Cristi Puiu.

SURSA CONTEXT: http://www.azi.ro/arhive/2006/10/27/daca.htm

CONTEXT: „Intact” este şi "film de autor", şi "film comercial"; şi parabolă, şi policier. Dar
este o parabolă poliţistă în care mitologia personală a înlocuit mitologiile colective: Borges
şi Bryan Singer, cu un strop de Bergman (trimiterea la „A şaptea pecete”)...

SURSA CONTEXT: http://agenda.liternet.ro/articol/423/Alex-Leo-Serban/Intact-Norocosi-

de-serviciu.html

ARIE DE UTILIZARE: Cinematografie, Literatura, Muzica etc.

COMENTARIU: Autor în industria audiovizuală, este persoana fizică care participă la

elaborarea unui text scris sau la realizarea unei opere audiovizuale.

STATUTUL DESEMNARII: Oficial

53
 AXIS OF ACTION

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: In the continuity editing system, the "Axis of Action" is an

imaginary line that passes through the two main actors of a scene, defining the spatial
relations of all the elements of the scene as being to the right or left.

DEFINITION SOURCE: Studying film, Nathan Abrams, Ian Bell and Jan Udris, 2001

NOTA BENE: The camera is not supposed to cross the axis at a cut and thus reverse
those spatial relations.

RO CORRESPONDANT: Axul optic

GRAMMATICAL CATEGORY: Noun phrase

GENERIC CONCEPT: Screenplay

HYPERONYM: Editing

HYPONYM: Continuity

VARIANT: The 180º line, The center line

CONTEXT: In most films, it is assumed that the action in a scene occurs along an
apparent and predictable line. This imaginary and invisible line is called the axis of action,
and is also known as the 180 degree line.

CONTEXT SOURCE: http://everything2.com/index.pl?node_id=1674300

CONTEXT: The X-Axis is the Horizontal axis of action. As Westerners, we read left-to-right.
If you rented 50 studio-made movies, there's a good chance that the „good guy” will enter
screen left every time. When he moves left-to-right our eyes move comfortably, thus, we
begin to make positive inferences.

54
CONTEXT SOURCE: Cinematic Storytelling- Jenniffer Van Sijll, 2005

USE AREA/ FIELD: Cinematography

COMMENTARY: The job of the continuity person, the script supervisor, is to make sure
that the axis is respected in a scene. Sometimes, a director can decide to jump over the
axis to create an effect that gives a nice feeling of confusion. The axis of action is a pretty
hard notion to understand without the practical approach.

DESIGNATION STATUS: Official

AXUL OPTIC

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Linie imaginară care leagă două personaje care se confruntă.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: pe un platou de filmare regula cere ca toate aparatele de filmat să fie
plasate de aceeaşi parte a acestei linii, pentru a evita dezorientarea spectatorului.

CORESPONDENT EN: Axis of action

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Scenografie

HIPERONIM: Editare

HIPONIM: Continuitate

VARIANTA: Linie imaginara

CONTEXT: Exista anumite norme de filmare create in conformitate cu modul de perceptie

vizuala a imaginilor. In film avem grija ca perceptia vizuala sa nu fie tulburata de ‘anomalii’
pentru ca spectatorul sa se poata concentra asupra a ceea ce vede. Pozitionarea camerei
se face dupa niste reguli. Cea mai cunoscuta si incalcata in acelasi timp este aceea a
pozitionarii camerei respectand axul optic.

SURSA CONTEXT: http://filmmaking.ro/2008/09/axul-optic/

CONTEXT: Saritura peste axul optic este acceptata daca intre cele doua cadre (luate de o
parte si de alta a axului) exista un cadru detaliu care sa imi distraga atentia de la ce
‘urmaream’. De fapt asta se intampla, cand sar axul, creierul nu mai percepe aceeasi
pozitionare cu care l-am obisnuit si este derutat. Frecvent este intalnita aceasta greseala

55
si in filmele mari si uneori chiar doare

SURSA CONTEXT: http://www.preferatele.com/docs/diverse/4/comunicare-audio-

viz13.php

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: Aceasta inie imaginară se poate regasi si între un personaj şi un obiect,

fiind produsă de direcţia privirii unui personaj. Ea reprezinta pentru realizatori, monteur, un
element de control al continuităţii la schimbarea unghiului de vedere al unui cadru (în
filmare sau în montaj).

STATUTUL DESEMNARII: Oficial

56
 BACKLOT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: http://en.wikipedia.org/wiki/Backlot

STANDARD DEFINITION: A large, undeveloped area on studio property used for

constructing large open-air sets or for filming wilderness scenes.

DEFINITION SOURCE: www.imdb.com

RO CORRESPONDANT: Decor exterior

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Constructions

HYPERONYM: Set decoration

HYPONYM: Set

SYNONYM: Shooting set

VARIANT: Back Lot

ANTONYM: Sound stage

CONTEXT: Nicholson says that viewers don't realize that there are dozens of virtual back
lot shots that they are doing for episodics such as ER, Crossing Jordan and The Dead
Zone. It can cost up to $150,000 a day to take your unit to shoot in San Francisco.
Stargate can shoot the same shots using their virtual back lot and save the producers 25
to 50 percent.

CONTEXT SOURCE: http://findarticles.com/p/articles/mi_m0HNN/is_/ai_109266086

CONTEXT: Yesterday a devastating fire has destroyed a mayor part of Universal Studios
Hollywood's backlot area. While firefighters did a tremendous job trying to control and save

57
some of Universal heritage, the losses are still big. The King Kong attraction is destroyed
as well as most of the sets from New York and New England Streets. The cause of the fire
will be investigated. So far the news speaks of an explosion, but no further information is
know yet. However, the famous Clock Tower Building from the Back to the Future fame
has not been burned down as earlier news reported.

CONTEXT SOURCE: http://blog.mousekingdom.com/2008/06/02/universal-studios-

hollywood-backlot-devastation/

USE AREA/ FIELD: Cinematography

COMMENTARY: A Backlot can literally mean no man's land. You can build whatever you
want outside, like a street that sometimes can obtain the status of an actual street. Warner
Backlots use streets like these movie after movie, getting them to became very well
known. Another such studio is Colombia, which owns what is now know as the New York
bakclot, used and taken for granted in numerous productions.

DESIGNATION STATUS: Official

DECOR EXTERIOR

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Zona exterioară a unui studio, unde se găsesc decorurile pentru
filmările în aer liber.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Este greu de găsit echivalentul exact în româneşte. In general se opteaza
pentru varianta generica, „decoruri”. Nu trebuie să se confunde cu ideea de platou(ri) –
soundstage(s) – construcţii care şi ele fac parte din studiou dar sunt folosite ca interioare.

CORESPONDENT EN: Backlot

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Constructii

HIPERONIM: Scenografie

HIPONIM: Cadru de filmare

VARIANTA: Decor

58
ANTONIM PARTIAL: Studio, Platou

CONTEXT: Domeniul Studiourilor cuprinde un număr de decoruri exterioare permanente,

precum şi un teren descoperit pe care se pot construi noi decoruri. Printre cele deja
existente se numără:
 Satul Francez, construit în 2005 pentru Jacquou le croquant, nominalizat la
secţiunea Cea mai bună scenografie la Premiile César;
 Strada Franceză, creată în 2004 pentru Modigliani, nominalizat pentru Merite
scenografice deosebite la Premiile Satellite; decorul a fost remodelat în 2007 pentru
a servi filmului California Dreamin’ (Nesfârşit), câştigător al trofeului “Un certain
regard” la Festivalul de Film de la Cannes;
 Strada Scoţiană, ridicată în 2004 pentru Gunpowder, Treason and Plot, câştigător a
4 premii la Festivalul Internaţional de Programe Audiovizuale de la Biarritz;
 Diverse case contemporane folosite în producţiile de televiziune.

SURSA CONTEXT: http://ro.mediaprostudios.com/resursele-studiourilor/platouri-si-

decoruri-exterioare

CONTEXT: Din 1940, se acordă premii Oscar pentru „scenografie”, separat pentru filmul
alb/negru şi separat pentru filmul color. În 1941, se acordă premiul Oscar pentru
„decoraţiune interioară”, şi numai în acest an, iar din anul 1957 se acordă premiul Oscar
pentru „scenografie”.
„Scenografia” înseamnă „decoruri interioare” şi „decoruri exterioare”, dar mai înseamnă şi
„decoruri naturale”, respectiv „decoruri artificiale”, sau „decor în alb/negru” şi „decor în
policromie”. Decorul poate fi ca atare, sau cu anumite sensuri, cu semnificaţii.

SURSA CONTEXT: http://mirceadumitrescu.trei.ro/roma.htm

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: In Romania exista o strada construita in Studioul Mediapro, numita Strada

Franceza, care este folosita sistematic in productii de film si publicitate. Ea poate fi usor de
recunoscut in ciuda deocurlui pe alocuri modificat. Castel Film beneficiaza, de asemenea
de o serie de decorurui exterioare arhifolosite.

STATUTUL DESEMNARII: Acceptat

59
 BLOCKBUSTER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A movie which is a huge financial success. In common usage a

"blockbuster" is a movie that has a box-office of more than $100 million upon release in
North America.

DEFINITION SOURCE: American Cinematographer Manual, American Society of

Cinematographers, 7th Edition, U.S.A. 1993

NOTA BENE: The term was first applied to Steven Spielberg's Jaws (1975), often
acknowledged as the first blockbuster; James Cameron's Titanic (1997) was also a
massive blockbuster hit. Originally, the term referred to a large bomb that would destroy an
entire city block during World War II. Ticket lines for blockbusters literally go around the
'block'.

RO CORRESPONDANT: Superproductie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Achievement

HYPERONYM: Bang, Hit

HYPONYM: Success, Megahit

SYNONYM: A-list Movie, Box-Office Hit

ANTONYM: Flop, Bomb, Turkey

RESTRICTIVE CONDITION: In the U.S. The term only applies to movies and not to
theatre as well, such as in the U.K.

60
CONTEXT: Shia LaBeouf gets shirtless again on the set of next summer’s possible
blockbuster Transformers 2 in Los Angeles on Friday. This time, however, Shia sports
some blood and battle scars all over his body. The 22-year-old appeared to be wearing a
smaller splint for his left hand instead of the larger protective bandage seen earlier.

CONTEXT SOURCE: http://justjared.buzznet.com/2008/08/23/shia-labeouf-blockbuster

CONTEXT: With the blockbuster Transformers' release mere days away, we decided to
see what kind of movies, based on our favorite '80s toys, we could come up with. To follow
are a few ''treatments'' we think could give Michael Bay some competition at the box office.

CONTEXT SOURCE: http://www.ew.com/ew/article/0,,20044268,00.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Today, some movies are called blockbuster before they are made and
eventually make more than 100m$ because they originally cost more than 100m$ to make,
and they also star the biggest. Also, most movies opening during summer are called
blockbusters.

DESIGNATION STATUS: Official

SUPERPRODUCTIE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Termen general ce denota un film care este un enorm succes
financiar.

SURSA DEFINITIE: Limbajul Cinematografic- Marcel Martin

NOTA BENE: Termenul nu reprezinta un element de noutate romanesc, ci este adaptarea

expresiei englezesti, luand in considerare ca Romania nu a produs niciun film de succes in
termeni Hollywoodieni.

CORESPONDENT EN: Blockbuster

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Figure of speech

HIPERONIM: Hit

HIPONIM: Megahit

61
SINONIm: Film de succes

ANTONIM: Esec. Film de duzina

CONTEXT: Superproductia "Codul lui Da Vinci" va avea o continuare:

„Codul lui Da Vinci“, adaptarea pentru marele ecran a scrierii cu acelasi nume a lui Dan
Brown, va avea o continuare, programata a fi lansata in anul 2008, despre aventurile
specialistului in simbolistica Robert Langdon (Tom Hanks). Aceasta continuare se bazeaza
pe un alt roman scris de Dan Brown si publicat in anul 2000.

SURSA CONTEXT: http://www.9am.ro/stiri-revista-presei/2006-11-27/superproductia-

codul-lui-da-vinci-va-avea-o-continuare.html

CONTEXT: Isi scot televiziunile banii investiti in achizitiile de blockbustere? Antena 1 si-a
scos banii de la prima difuzare a superproductiei “Titanic”. Filmul care a fost cumparat cu
200 de mii de dolari “s-a intins” pe durata a patru ore de program (cu calupurile publicitare
aferente) si a avut cele mai mari ratinguri din istoria filmului la TV din Romania. La a doua
difuzare a “Titanicului”, Antena 1 a scos profit. Nu de acelasi succes s-a bucurat Matrix,
difuzat de Pro TV.

SURSA CONTEXT: http://www.wall-street.ro/pdf/5511/Filmele-se-cumpara-la-pachete-cu-

saci-de-bani.pdf

ARIE DE UTILIZARE: Cinematografie, Teatru, Televiziune

COMENTARIU: Desi termenul se refera la un film de succes (din punct de vedere al

numărului de spectatori şi în consecinţă, al încasărilor), in Romania el determina si o
productie in desfasurare, care nu poate anticipa rezultatele incasarilor, ca de exemplu un
film romanesc cu un buget de productie impresionant.

STATUTUL DESEMNARII: Oficial

62
 BLOOPER

ID LANGUAGE: EN

ID COUNTRY: U.S.A.

SOURCE: http://en.wikipedia.org/wiki/Blooper

STANDARD DEFINITION: A blooper is a short sequence of a film or video production

which can not be used because it for the final cut contains a mistake made by a member
of the cast or crew.

DEFINITION SOURCE: http://www.merriam-webster.com/dictionary/blooper

NOTA BENE: The term generically defines an unpleasant sound, such as that of a round
object plunging on the surface of water. In the cinematographic field although, bloopers are
extra footage reserved as bonus material. The equivalent term in Europe, especially the
U.K., is Gag Reel, coming from the French „gag”, which means joke.

RO CORRESPONDANT: Balba

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Footage

HYPERONYM: Mistake

HYPONYM: Fumble, Gaffe, Slip, Stumble

SYNONYM: Blunder, Blub

VARIANT: Gag, Bloopers.

ABBREVIATION: B- Reel

EXPANSION: Blooper- Reel, Gag- Reel.

63
RESTRICTIVE CONDITION: The term is mostly used in the U.S.A.

CONTEXT: In a film taking place in the Old West, a viewer might spot a twentieth century
vehicle driving in the distance of one shot, or in a film taking place in ancient Greece, an
actor may have forgotten to remove his wristwatch and it was caught on film. Or it might be
a piece of clothing, such as shoes, that change for one shot then change back with no
explanation. Strictly speaking, however, these are film errors, and not "bloopers" since
they did not occur in outtake footage or a live broadcast.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Blooper#Alternative_definition

CONTEXT: Every year CNET TV publishes blooper reels of all of our on-air personalities.
While I am certainly not opposed to airing my foibles, I am a little reluctant. I am always so
afraid of being inappropriate but more often that not, I err on the side of authenticity. For
better or for worse.

CONTEXT SOURCE: http://natalidelconte.wordpress.com/2008/12/08/blooper-reel-time/

USE AREA/ FIELD: Cinematography, Television, Sports- Baseball.

COMMENTARY: Bloppers have developed into a tradition, a fake marketing tool,

considering bloopers too are now being scripted, to have them at the end credits of
comedies or television shows, like sitcoms. The movie „Antz” featured a blooper reel,
which for an animation movie is unnatural and only proves how fake bloopers can be
today.

DESIGNATION STATUS: Official

BÂLBĂ

LIMBA VEDETEI: RO

TARA VEDETEI: Romania

SURSA: Dictionarul Explicativ al Limbii Romane, 1998

DEFINITIE STANDARD: Greseala facuta de un actor in timpul filamarilor – replici

pronuntate gresit sau intr-un moment nepotrivit, situatie ce starneste de regula ilaritatea. O
greşeală în acţiunea filmului sau în dialogul rostit, care creează ilaritate.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Se mai spune goof sau flub (ex. numele speciei de dinozaur Stegosaurus
din Jurassic Park a fost greşit scris pe afişele publicitare – Stegasaurus; în filmul North by
Northwest – 1959, de Hitchock, un copil îşi astupă urechile înainte de a suna împuşcătura,
sau în filmul Invisible Man - 1933, Claude Rains se dezbracă pentru a se ascunde de
poliţie dar lasă urme de pantofi în zăpadă).

64
CORESPONDENT EN: Blooper

CATEGORIE GRAMATICALA: Substantiv comun

CONCEPT GENERIC: Accident

HIPONIM: Gresala

SINONIM: Gafa.

ANTONIM: Fluenta

CONTEXT: Nu mă laud cu un "arsenal" de bâlbe, dar cele de care îmi aduc aminte au fost
"comise" la început de carieră. Până te obişnuieşti, ţi se pare foarte ciudat să vorbeşti de
nebun în faţa camerei de luat vederi. Cea mai notabilă bâlbă a devenit la vremea
respectivă material pentru "Cronica Cârcotaşilor". Live de la Biroul Electoral Central.
Trebuia să explic condiţiile pe care cetăţeanul român dornic să-şi exprime opţiunea politică
era obligat să le îndeplinească. La un moment dat am spus "buletine exprimate" în loc de
"buletine expirate". A doua bâlbă a fost, culmea, tot la o transmisiune în direct despre
alegeri. În loc de "pâinea şi cuţitul în mână" a ieşit "pâinele şi cuţitul în mână". Următoarea
nu ştiu dacă se încadrează la categoria "bâlbă", însă a fost o sursă de amuzament pentru
redacţie, când în loc de "Bună seara, Nicoleta!", am spus cu zâmbetul pe buze "Bună
seara, Alex!".

SURSA CONTEXT: http://tv.jurnalul.ro/articole/117019/dependenta-de-televiziune.html

CONTEXT: Sunt exprimari despre care nu poti crede ca le vei intalni vreodata la televizor
in ore de maxima audienta. Si totusi... viata bate filmul. Amuzant e ca balbele au fost
emise de prezentatoarele de stiri cu zambet profesional si incredere in ceea ce spun, de
unde se vede ca fenomenul gandirii nu le afecteaza prea mult atunci cand citesc de pe
prompter.

SURSA CONTEXT: http://floringighileanu.weblog.ro/2008-12-14/623314/CELE-MAI-TARI-

BALBE-DIN-TELEVIZIUNI.html

ARIE DE UTILIZARE: Cinematografie, Teatru, Mass- Media.

COMENTARIU: Probabil cea mai frecventă greşeală în filme este apariţia în cadru a
prăjinei de microfon.

STATUTUL DESEMNARII: Oficial

65
 BLUE SCREEN

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: The Sage's English Dictionary and Thesaurus

STANDARD DEFINITION: A special-effects process whereby actors work in front of an

evenly lit, monochromatic (usually blue or green) background. The background is then
replaced in post production by chromakeying, allowing other footage or computer-
generated images to form the background imagery.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: Since 1992, most films use a green-screen.

RO CORRESPONDANT: Ecran Albastru

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Special effects

HYPERONYM: Visual effects

HYPONYM: Green Screen

SYNONYM: Chroma, Chroma-key

PARTIAL SYNONYM: Green screen

VARIANT: Bluescreen, Blue-screen, Color keying, Colour-separation overlay

ANTONYM: Travelling Matte

66
CONTEXT: Blue-screen, green-screen, chroma-key - it's all the same thing. To put simply
this is the process of filming a scene, object or person in front of a pure coloured screen
(typically either blue or green) so that the colour can be removed later to achieve certain
special effects.

CONTEXT SOURCE: http://www.stormforcepictures.com/howto-buildabluescreen.php

CONTEXT: Heading north of the border to save money on production costs and take
advantage of good crews and proximity to the visual effects house Hybrid, the movie was
“shot it in Montreal, which I know instantaneously brings to mind ancient Greece for a lot of
people, with the harsh winters and French and all that,” quips Snyder, noting that his 61-
day shoot finished on schedule in January 2006. With a couple of minor exceptions, the
entire film was shot indoors, against a blue screen. Cinematographer Larry Fong devised
an efficient method combining overhead and key lighting that made for faster, more
efficient shooting — it allowed the perspective to change by turning the simply reversing
the lighting: all lights were pre-mounted, so it was a matter of flipping a switch and then
some tweaks. Because all the backgrounds were added later, neither the camera nor the
actors had to move. This disoriented actors, “because they didn’t know where they were
half the time, but because it was so physical, they eventually forgot about the blue screen,”
notes Snyder.

CONTEXT SOURCE: http://entertainment.howstuffworks.com/inside-3002.htm

USE AREA/ FIELD: Cinematography, Television

COMMENTARY: The blue-screen became a generic term for the process it determines,
even when it comes to green-screens. This technique of replacing the back projection after
shooting with a bluescreen is called a plate. Plates can be real images shot by the second
unit crew or the visual effects( VFX) unit or couls simply be CGI images (generated by
computer).
The technique of using blue screens is commonly used for weather forecast broadcasts,
wherein the presenter appears to be standing in front of a large map, but in the studio it is
actually a large blue or green background. The meteorologist stands in front of a
bluescreen, and then different weather maps are added on those parts in the image where
the color is blue. If the meteorologist himself wears blue clothes, his clothes will become
replaced with the background video. This also works for greenscreens, since blue and
green are considered the colors least like skin tone.

DESIGNATION STATUS: Official

ECRAN ALBASTRU

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

67
DEFINITIE STANDARD: Procedeu tehnic de filmare specială cu fundal albastru, procedeu
de trucaj prin înlocuire a unei culori cu altă culoare din spatele acesteia, pe ecran, prima
devenind transparentă.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Ecranul albastru poate fi inlocuit de ecranul verde pentru acelasi rezultat.
Cele doua culori au fost alese ca fiind cele mai putin apropoiate de culoarea pielii.

CORESPONDENT EN: Blue Screen

CATEGORIE GRAMATICALA: Substantiv compus

CONCEPT GENERIC: Efect Special

HIPERONIM: Efect vizual

HIPONIM: Ecran Verde

VARIANTA: Croma

CONTEXT: Timp de cincisprezece zile s-a filmat în decoruri naturale cu versiunea

animatronică, aici la Londra. În spatele Bestiei s-a instalat un ecran albastru şi s-au
construit fragmente de decor, mai ales pentru prim planuri. Se vedeau părţile filmate în
Franţa ca să ştim exact cum să asamblam piesele de puzzle. Sigur că este minunat ca
Bestia să fie prezentă pe platou, cu actorii, însă a trebuit să recurgem la tehnici speciale.

SURSA CONTEXT: http://agenda.liternet.ro/articol/4726/Comunicat-de-presa/Interviu-cu-

Jamie-Courtier-supervizor-al-tehnicii-animatronice-Le-pacte-des-loups.html

CONTEXT: Cel mai remarcabil lucru a fost probabil balansarea elicopterului suspendat de
o macara inalta pe care Corbould a proiectat-o si construit-o pentru secventele cu actorii
principalii din interiorul elicopterelor Black Hawk, care zburau pe deasupra orasului
Mogadiscio. Ridley Scott, pentru o cat mai mare autenticitate, nu a vrut sa foloseasca
vechea tehnica de filmare cu "ecranul albastru".

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=497&what=article&article_id=2394

ARIE DE UTILIZARE: Cinematografie, Televiziune

COMENTARIU: Procedeul ecranului abastru este procedeul folosit la transmiterea

emisiunii meteo, când prezentatorul se află pe micul ecran în faţa unei hărţi, în realitate el
fiind în faţa unui ecran colorat.

STATUTUL DESEMNARII: Oficial

68
 B MOVIE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.wikipedia.com

STANDARD DEFINITION: A low-budget, second tier movie, frequently the 2nd movie in a
double-feature billing.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: B-films were cheaper for studios because they did not involve the most
highly paid actors or costly sets, and were popular with theater owners because they were
less expensive to bring into their theaters while still able to draw revenue.

RO CORRESPONDANT: Film de categoria B

GRAMMATICAL CATEGORY: Compound Noun

GENERIC CONCEPT: Cinematography

HYPONYM: MoviE
69
VARIANT: B-Series, B-Feature, B-Picture, B-Film

ANTONYM: Studio Movie, A- Movie

CONTEXT: The major studios, at first resistant to the B movie, soon adapted. All
established "B units" to provide films for the expanding second-feature market. Block
booking became standard practice: to get access to a studio's attractive A pictures, many
theaters were obliged to rent the company's entire output for a season. With the B films
rented at a flat fee (rather than the box office percentage basis of A films), rates could be
set virtually guaranteeing the profitability of every B movie.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/B-movie

CONTEXT: In 2006, the Asylum released “The Da Vinci Treasure” and “Snakes on a Train”
on DVD just as “The Da Vinci Code” and “Snakes on a Plane” were hitting theaters. Those
films, Asylum says, turned a profit, too. At a time when digital cameras, computer editing
and online video enable D.I.Y. auteurs to compete with B-movie studios, the Asylum has
nonetheless become a self-sustaining success story.

CONTEXT SOURCE: http://www.nytimes.com/2007/10/07/magazine/07wwln-essay-

t.html?_r=1

USE AREA/ FIELD: Cinematography

COMMENTARY: The origin of the word is in the early 20th century ! Today, there is no
double feature. Now b-movies stand for genre pictures or exploitation pictures (horror,
western, kung-fu, action...). by opposition to art films, studio films or auteur films (even if
most of b-movies are auteur or studio films as well...). This "b-movie" denomination is very
lose today. Starwars, Terminator or The Hills Have Eyes were b-movies at first and
became such cultural phenomenona, that they're not anymore! To understand the essence
of what is a b-movie, one needs to watch Tarentino's films- they all intentionally looked like
b-movies and gave homage to them.

There is the A-movie aswell,which are the studio- auteur movies with an Oscar winning
potential, and then you have the genre pictures more popular with a "cult" potential. And
finally... you have what they call in france the "z movies", the worst of the bunch which are
called "direct to video" in the U.S.

DESIGNATION STATUS: Official

FILM DE CATEGORIA B

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

70
DEFINITIE STANDARD: Film cu buget redus, actori ieftini si putin cunoscuti, violenta si
clisee cinematografice, care este menit sa continue veniturile unei case de productii sau
ale unui cinematograf, cu eforturi reduse.

SURSA DEFINITIE: www.altmariusfilm.weblog.ro

NOTA BENE: Termenul este preluat si interpretat din limba engleza, el nesemnificand
trasaturi specifice filmelor romanesti, tinand cont de nivelul de dezvoltare al
cinematografiei noastre.

CORESPONDENT EN: B-Movie

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Cinematografie

HIPONIM: Film

VARIANTA: Film de categoria a doua, Film de Duzina

ANTONIM: Film de categorie A

CONTEXT: Vorbind cu Tarantino este o experieneta la fel de puternica daca mergi la

filmele sale: un limbaj sardonic, radical si plin de humor, asa dupa cum sunt toate creatiile
lui extraordinare. Intr-adevar, pentru el a fost foarte normal sa faca recentul Grindhouse si
Death of Proof impreuna cu regizorul Robert Rodriguez a carui experienta si lucrari
exceptionale sunt deja bine cunoscute in lumea Hollywood-ului. Amindoi, regizori de
renume cu originalitate aparte si creatori independenti, nelegati de studiouri si regulile lor,
au hotarit entuziastic sa aduca un omagiu filmelor de categoria B prin lansarea celor doua
episoade de mai sus prin care spectatorul sa se refugieze de la realitatea cruda, sau nu
asa cruda, in care traieste.

SURSA CONTEXT: http://www.observatorul.com/articles_main.asp?

action=articleviewdetail&ID=5799

CONTEXT: Intotdeauna filmele de categoria B le-am vazut ca acele filme slabe de actiune
la care se uita tata la televizor seara si niciodata nu isi aduce aminte ca le-a mai vazut.
Este vorba de principal de filme cu buget redus ce nu au permis crearea unor efecte
speciale devastatoare, angajarea unui scenarist renumit sau a unor actori cunoscuti. Cu
toate acestea exista si filme bune de categoria B. Aseara am vazut „Slipstream” si acum
cateva luni „Primer”. Ambele sunt filme SF, deci se exploateaza ideea si mai putin afisarea
acesteia. Poate si din acest motiv mi-au placut ambele filme si am reusit sa trec peste
efectele speciale de-a dreptul penibile in Slipstream si inexistente in Primer. De notat este
ca Primer a avut un buget de doar 7000$ si reuseste sa impresioneze cu unele tehnici de
filmare (out of focus excelent), deci se pot face lucruri bune si cu bani putini. Cel putin
raportul investitie/rezultat din Primer bate Titanic

SURSA CONTEXT: http://www.ionutpopa.ro/diverse/filme/filme-bune-de-categoria-b-49/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Utilizarea cuvantului face de obicei referire la productii de peste ocean,

71
care si-au facut un obicei din a abunda in clisee cinematografice.

STATUTUL DESEMNARII: Acceptat

BOOM MICROPHONE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: A traveling or moveable counter-balanced pole, arm, or telescoped extension

device upon which a microphone can be suspended overhead above a scene and outside
the frame during filming.

STANDARD DEFINITION: A long pole with a microphone on the end.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The boom is extended out near the actors. Ideally, the microphone at the
end should be placed in the camera's safe area.

RO CORRESPONDANT: Microfon cu prajina

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Sound recording

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HYPERONYM: Equipment

HYPONYM: Recording microphone

VARIANT: Boom Mic, Boom, Fishpole, Giraffe, Fishing rod

CONTEXT: But he should be disqualified from the award. The reason? I counted no less
than three times (and I think it was four) that I saw the boom microphone in the shot. And
one time it was really bad. Earlier in the movie the boom mic would quickly come in and
out of the shot that I wasn't positive at first. But in the scene where Ennis walks into the
Kitchen after the emotional scene he just had with Jack's coat toward the end of the movie
that thing came swinging so far into the shot that I could make out the whole thing and the
boom that holds it and the wire leading into the mic.

CONTEXT SOURCE: http://deniwilco.blogspot.com/2006/03/boom-mic-mountain.html

CONTEXT: Unable to record the film's dialogue on-set due to technical problems, Kubrick
was forced to post-sync all of this film's dialogue and sound effects. Veteran soundman
Nat Boxer was hired to record sound. But, after his boom mic and pole created many
shadows, the inexperienced Kubrick was forced to fire Boxer and his sound crew. Actress
Irene Kane was unavailable to add her dialogue later, so the voice of another actress was
used.

CONTEXT SOURCE: http://www.tcm.com/tcmdb/title.jsp?stid=22832&category=Trivia

USE AREA/ FIELD: Cinematography

COMMENTARY: The boom mic is handled by a boom operator or boom man. A boom, the
actual pole, needs not to be attached to a mic exclusively, fore it can have other sizes and
uses. There are also camera booms, or light booms.
The most common film mistake is the appearance of the boom mic (or its shadow) in the
frame.

DESIGNATION STATUS: Official

MICROFON CU PRĂJINĂ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemagia.ro

DEFINITIE STANDARD: Microfon cilindric folosit la filmari pentru suprinderea unei game
foarte largi de sunete, fiind superior lavalierelor, atasat la capatul unei prajini metalice si
manevrat de un sunetist.

SURSA DEFINITIE: www.cinemarx.ro

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NOTA BENE: Termenul se rezuma de multe ori la forme mai scurte imprumutate fie din
engleza ( boom), fie din franceza ( perche- undita).

CORESPONDENT EN: Boom Microphone

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Inregistrare de sunet

HIPERONIM: Aparatura

HIPONIM: Microfon lavaliera

VARIANTA: Perche, Girafa

CONTEXT: In primul (si in ultimul) rand, cum e posibil sa puneti acesemenea preturi de
filmat la m³, parca ati vinde gogonele la aprozar, in orice caz Bucurestiul a devenit printre
cele mai scumpe orase in care poti filma din cauza acestor taxe, in timp ce in alte capitale
europene, cum ar fi Parisul, ele nici macar nu exista. Taxe pe strazi, pe parcuri... pe toti...
filmatul o sa ajunga in Bucuresti o actiune de querila pentru cei care n-au megabuget. Un
fel de graffiti, ceva ilegal. (desi trebuie sa fie mai nasol sa fii fugarit de garda cu un aparat
de filmat in brate, sa sari garduri cu un microfon cu prajina, decat cu niste canuri).

SURSA CONTEXT: http://metropotam.ro/Din-profil/2006/11/art5861039114-Profil-de-

metropotam-Eva/

CONTEXT: Shotgun-urile se monteaza pe un boompole (prajina/girafa) adica pe un suport

extensibil telescopic pentru a putea fi manuit de la distanta. In capul Boomului se poate
aplica direct shotgunul daca are sistm de prindere sau cu ajutorul unui stand mount (nuca)
un suport in care microfonul e prins cu ajutorul unor elastice.

Varful shotgunului trebuie indreptat fix spre gura vorbitorului pentru a capta corect sunetul.
Miscam boomul odata cu capul personajului.

SURSA CONTEXT: http://filmmaking.ro/2008/10/microfoane-pentru-film/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Pentru o filmare exista doua tipuri principale de microfoane.

Primele sunt cele tip Shotgun cu aspect cilindric si lung de 15-30 cm caruia i se atasaza
prajina si care pot fi unidirectionale sau omnidirectionale.
Cele unidirectionale sunt mai eficiente in cazul in care dorim sa captam sunetul de la un
personaj sau un grup restrans de personaje. Fiind unidirectional nu baga in seama
ambianta, zgomotele si se concentreaza pe o singura sursa-gura vorbitorului.
Microfoanele omnidirectionale fac exact viceversa, capteaza tot ce prind. Sunt folosite
pentru ambianta.
Apoi sunt microfoanele lavaliera, care se atasaza de actori.
Ideala esta inregistrarea cu ambele tipuri de microfoane pentru efect maxim.

STATUTUL DESEMNARII: Oficial

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 A large group of fashionly dressed little girls
assembled under the boom microphone
while taping a TV commercial.

BOX-OFFICE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: The measure of the total amount of money or box-office

receipts paid by movie-goers to view a movie.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: films with great box-office results or a strong and outstanding performance
are often termed 'boff', 'boffo', 'boffola', 'whammo', 'hotsy', or 'socko'.

RO CORRESPONDANT: Incasari

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Value

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HYPERONYM: Gross, Recepits, Revenue

HYPONYM: Counter

SYNONYM: Gross

PARTIAL SYNONYM: Ticket booth

ABBREVIATION: B.O., BO

CONTEXT: To keep the budget for the special-effects-laden film under $100 million,
insiders say neither Spielberg nor Cruise took any salary up-front. Instead, they'll each
take an estimated 15% of the box-office take. (Fox would not confirm or supply numbers
for Minority Report.)

CONTEXT SOURCE:
http://www.businessweek.com/bwdaily/dnflash/jun2002/nf20020614_7543.htm

CONTEXT: Spielberg too is no stranger to producing box office hits. His back catalogue
includes some of the most popular movies of recent cinemas history, such as E.T and
Jurassic Park.

CONTEXT SOURCE: http://news.bbc.co.uk/1/hi/entertainment/film/2110630.stm

USE AREA/ FIELD: Cinematography, Entertainment

COMMENTARY: The term comes from the name of the ticket booth in front of the old
theatres. It became the holly word in the business by which any production can be roughly
judged.

DESIGNATION STATUS: Official

ÎNCASĂRI

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Incasări brute în săli si numărul de spectatori exprimat în

valoarea biletelor de intrare.

SURSA DEFINITIE: Engleza Producatorului de Film- lucian pricop

NOTA BENE: Teoretic, traducerea corespondentului in engleza ar fi „ghiseu”, practic in

schimb, termenul defineste incasarile unei productii cinematografice.

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CORESPONDENT EN: Box Office

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Valoare

HIPERONIM: Chitante, Profit, Venit

HIPONIM: Taxare

VARIANTA: Top Incasari, Box-office

CONDITIE RESTRICTIVA: Imprumutul din limba engleza este mai degraba folosit decat
traducerea in romana.

CONTEXT: Regizorul britanic Danny Boyle a declarat că a iniţiat un proiect prin care "o
parte importantă" din încasările filmului "Slumdog Milionaire", care a obţinut zece
nominalizări la Oscar, să fie donată copiilor nevoiaşi din India, unde pelicula a fost filmată,

SURSA CONTEXT: http://www.mediafax.ro/life-inedit/o-parte-din-incasarile-de-la-slumdog-

millionaire-donata-copiilor-nevoiasi-din-india-video.html?4728;3833693

CONTEXT: Filmul Iron Man cu Robert Downey Jr in rolul principal a ramas numarul unu in
box-office-ul american pentru al doilea weekend consecutiv. Dupa incasarile de
saptamana trecuta in valoare de peste 100 de milioane de dolari, saptamana aceasta a
adus filmului inca 50 de milioane, lasand concurentele Speed Racer si What Happens in
Vegas, cu Ashton Kutcher si Cameron Diaz pe locurile doi si trei, la o distanta
considerabila de 30 de milioane de dolari.

SURSA CONTEXT: http://www.roportal.ro/stiri/stirea-1374300.htm

ARIE DE UTILIZARE: Cinematografie, Divertisment

COMENTARIU: Incasarile unui film pot fi estimate din timp in functie de bugetul alocat
initial producerii acestuia.

STATUTUL DESEMNARII: Oficial

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 CALL SHEET

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Careers For Film Buffs An Other Hollywood Types, Jaq Greenspoon-, U.S.A.
2003

STANDARD DEFINITION: A listing of which actors will be required for which scenes, and
when they will be required.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: It is a type of schedule given out periodically during a film's production to let
every department know when they are supposed to arrive and where they are to report.

RO CORRESPONDANT: Program de filmare

GRAMMATICAL CATEGORY: Noun Phrase

78
GENERIC CONCEPT: Evidence

HYPERONYM: Record

HYPONYM: Written record

SYNONYM: Work Sheet

CONTEXT: If something is going to go wrong, it’s going to go wrong on your video shoot.
But there is one key piece of administration that will get your production days off to a
smooth start and that is the Call Sheet.

CONTEXT SOURCE: http://www.simply-communicate.com/cgi-bin/item.cgi?id=124

CONTEXT: We knew that J.J. Abrams's top-secret monster movie Cloverfield (a.k.a.
Overnight, a.k.a. Monstrous, a.k.a. 1-18-08, etc.) was shooting in Manhattan this week
under the fake name Cheese. So, in an unprecedented move, one of Vulture's editors
actually left his computer and went outside. While we were near the film's set on the
southwest corner of Central Park, a random crew member handed us something
interesting: a call sheet for "day 33 of 33" of shooting that appears to give away
Cloverfield's ending — and alternate ending! Major spoilers ahead, obviously.

CONTEXT SOURCE:
http://nymag.com/daily/entertainment/2007/08/clover_field_wraps_and_weve_got_the_call
_sheet.html

USE AREA/ FIELD: Cinematography, Television

COMMENTARY: A call sheet is put together somewhere before the end of the shooting
day by the first A.D. and the line producer and it contains everything the crew needs to
know about the next day of shooting .

DESIGNATION STATUS: Official

PROGRAM DE FILMARE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Convocator pe un formular tipărit, pentru ziua următoare de

filmare; este înmânat actorilor şi echipei, clarifică programul de filmare şi specifică orele
(call time) la care personalul echipei trebuie să se prezinte la lucru, care decor va fi folosit
şi orice echipament neobişnuit de care este nevoie. Aceasta ajută la menţinerea ordinii pe
timpul filmării.

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SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Un convocator pentru fiecare zi de filmare este de obicei distribuit cu o zi

înainte. Este întocmit de regizorul secund după consultarea cu producatorul.

CORESPONDENT EN: Call sheet

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Evidenta

HIPERONIM: Registru

HIPONIM: Registru scris

SINONIM: Prgoram de lucru, Convocator

CONTEXT: Titlu Job: asistent regie; Responsabilitati:

- realizarea intregului program de filmare
- realizarea programului zilnic de filmare in baza programului intreg de filmare ( realizarea
call sheet-urilor )

SURSA CONTEXT: http://www.ejobs.ro/arhiva_cvuri_publice/interviu-412346.htm

ARIE DE UTILIZARE: Cinematografie, Televiziune

COMENTARIU: Este realizat în conformitate cu cerinţele regizorului – în primul rînd – dar

şi cu eventuale alte criterii (de exemplu posibilitatea de acces doar la o anumită oră într-un
decor, cerinţele speciale ale unei filmări cu animale sau copii, etc.) Intrucat scenele sunt
de cele mai multe ori filmate fara a se respecta ordinea cronologica a evenimentelor din
scenariu, trebuie ca fiecare zi de filmare sa fie programata. Programul de filmare contine
locatia, orele, echipamentul si personalul de care este nevoie pentru o zi de filmare. Orarul
in sine poate fi alcatuit pentru o singura zi, insa de regula este realizat pentru mai multe
zile sau pentru o saptamana.

STATUTUL DESEMNARII: Oficial

80
81
82
 CAST

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A collective term for all of the actors/performers (or talent)
appearing in a particular film: usually broken down into two parts: the leads with speaking
roles, and the seconds or supporting characters, background players or extras, and bit
players

DEFINITION SOURCE: http://www.filmsite.org/filmterms4.html

NOTA BENE: The term can also define a bandage or a mold.

RO CORRESPONDANT: Distributie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Group

HYPERONYM: Gathering

HYPONYM: Supporting players, Assemblage

SYNONYM: Cast of characters, Dramatis Personae

CONTEXT: It would seem that playing the world's deadliest, most elusive spy is quite a
risky affair after all. And no, this time it's more than a pulled muscle hurt while trying to pull
off one of the famous Bond-style stunts that are bound to leave the audience gasping in
excitement. This time, it's real conflict, it seems that the cast and crew currently filming the
22nd Bond film called "Quantum of Solace" in Panama has found itself thrown into a "war
zone" complete with street fights, killings and rioting gangsters.

CONTEXT SOURCE: http://news.softpedia.com/news/Bond-Is-On-Fire-Literally-

79050.shtml

CONTEXT: The Stallionaires returned to VH1 as cast members of I Love Money, where a
group of reality television stars competed for $250,000. The cockier and more outgoing
Chance was cast away fairly early in the show, while the sincere and serious brother Real
was among the last few finalists on I Love Money.

CONTEXT SOURCE:
http://reality-tv-episode-summaries.suite101.com/article.cfm/vh1s_real_chance_of_love_e
pisode_1

USE AREA/ FIELD: Cinematography

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COMMENTARY: Dramatis personæ is a Latin phrase (literally 'the masks of the drama')
used to refer collectively to the characters in a dramatic work—-commonly employed in
various forms of theatre, and also on screen. Typically, off-stage characters are not
considered part of the dramatis personæ. It is said to have been recorded in English since
1730, and is also evident in international use.

DESIGNATION STATUS: Official

DISTRIBUŢIE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.dexonline.ro

DEFINITIE STANDARD: Totalitatea actorilor (principali, secundari, figuranti) ce au primit

rolurile si apar efectiv intr-o productie cinematografica.

SURSA DEFINITIE: http://www.cinemarx.ro/info/dictionar/D/

NOTA BENE: Termenul se poate referi la distributia unei palete nedefinite de obiecte si
persoane in domenii vaste.

CORESPONDENT EN: Cast

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Grup

HIPERONIM: Adunare

HIPONIM: Ansamblu

SINONIM PARTIAL: Repartizare

CONTEXT: Filmul "Slumdog Millionaire" a primit duminică, la Los Angeles, premiul pentru
cea mai bună distribuţie din partea Sindicatului actorilor americani (Screen Actors Guild/
SAG), un motiv în plus pentru a se număra printre favoriţii premiilor Oscar pe 2009.

SURSA CONTEXT: http://www.mediafax.ro/life-inedit/distributia-filmului-slumdog-

millionaire-premiata-de-sindicatul-actorilor-americani-video.html?4728;3803455

CONTEXT: Zilele acestea au fost eliberate presei detalii suplimentare despre noul film “X-
Files” ce urmeaza sa apara cel mai probabil la inceputul lui 2009. Astfel, stim ca Xzibit,
celebrul cantaret rap si gazda showului MTV “Pimp My Ride”, va face parte din distributia
productiei, lui alaturandu-se Amanda Peet si comedianul scotian, Billy Connolly.

84
SURSA CONTEXT: http://www.cinemarx.ro/stiri-cinema/3-actori-noi-in-distributia-filmului-
dosarele-x-2/

ARIE DE UTILIZARE: Cinematografie, Teatru, Televiziune

COMENTARIU: Atunci cand departamentul de productie a intocmit o lista a rolurilor, adica

distributia, uneori poate fi cazul ca unele nume sa fie pastrate secrete sau schimbate
pentru a proteja identitatea unor actori celebri sau pentru a proteja componente vitale din
povestea filmului.

STATUTUL DESEMNARII: Oficial

85
 CASTING

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The process of selecting and hiring actors to play the roles and
characters in a film production, and be brought under contract.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: the lead roles are typically cast or selected by the director or a producer, and
the minor or supporting roles and bit parts by a casting director. The term may aslo be
used as a Verb.

RO CORRESPONDANT: Preselectie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Sepparation

HYPERONYM: Choice, Option, Pick, Selection.

CONTEXT: David Fincher Says Some Casting Talk Of 'Torso' Are Still Just Rumors.“I’ve
never spoken with Rachel McAdams, though it’s a fine idea,” David Fincher told MTV on
his recent 'Benjamin Button' press tour talking about his Eliot Ness film project, "Torso."
"I’ve spoken with Casey [Affleck].”

CONTEXT SOURCE: http://theplaylist.blogspot.com/2008/12/david-fincher-says-some-

casting-talk-of.html

CONTEXT: Pedro Almodóvar’s Casting Call: Pedro Almodóvar is seeking a lead actress
for his new film. He is keeping quiet about all production details, but I am sure he is
causing an infinite line for auditions.

CONTEXT SOURCE: http://lossip.com/6171/pedro-almodovars-casting-call/

USE AREA/ FIELD: Cinematography, Thatre, Fashion

COMMENTARY: The casting process can represent a fight between the director and the
financer who are most of the time in disagreement about who should play specific parts or
who is more talented.
Type-casting refers to an actor playing only roles similar to those he/she has played before
A classic example of typecasting was Clark Gable as Rhett Butler in Gone With the Wind
(1939), by producer David O. Selznick and by popular choice. In addition, John Wayne

86
was often typecast as a western cowboy, Errol Flynn as a swashbuckler, Cary Grant as a
debonair gentleman/lover, and Arnold Schwarzenegger as an indomitable strong-guy or
'terminator'.

DESIGNATION STATUS: Official

PRESELECŢIE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

DEFINITIE STANDARD: audiţie pentru alegerea si distribuirea actorilor; casting director – ;

stunt-casting - distribuirea rolurilor prin ataşarea la film a numelui uneia sau mai multor
vedete care vor face filmul mai atractiv în ochii finanţatorilor.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Regizorul Secund este cel responsabil cu distribuţia actorilor; este
specializat în găsirea celor mai buni actori pentru fiecare rol şi negocierea contractelor
acestora; alegerea actorilor depinde de aprobarea regizorului şi producătorului.

CORESPONDENT EN: Casting

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Separare

HIPERONIM: Selectie, Alegere

SINONIM/ SINONIM PARTIAL/ VARIANTA:

CONTEXT: Pentru ocuparea rolurilor din serial a fost organizată o preselecţie, existând opt
personaje principale ale căror nume aveau să apară şi pe generic. Preselecţia pentru rolul
lui Michael Scofield, unul din protagoniştii serialului, a început cu câteva săptămâni înainte
de startul filmărilor.

SURSA CONTEXT: http://blackcatme.wordpress.com/category/prison-break/

CONTEXT: Din 29 august, încep preselecţiile pentru noul sezon al emisiunii “În al 9-lea
cer”, difuzată ACASĂ, a cărei miză este obţinerea de către cei doi finalişti a câte unui rol
într-o producţie Promance, companie a MediaPro Pictures.

SURSA CONTEXT: http://www.acasatv.ro/noutati-acasa/emisiuni/important-incep-

preselectiile-pentru-noul-sezon-al-emisiunii-in.html?page_no=10

87
ARIE DE UTILIZARE: Cinematografie, Teatru, Moda

COMENTARIU: distribuirea intr-un film – de la rolurile principale pînă la figuraţie – poate

conţine mai multe etape: cercetare (într-o bază de date, prin anunţ,etc), propunere de
variante (înaintată regizorului/producătorului), test (fotografic, filmat).

STATUTUL DESEMNARII: Oficial

88
 CINEMA

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: 1. A theater where film are shown; 2. A medium that

dissemintates movimg pictures.

DEFINITION SOURCE: The Sage's English Dictionary and Thesaurus

NOTA BENE: Cinemas, as places where screenings occur, can be hardtops or ozoners
( indoor or drive-in theaters)

RO CORRESPONDANT: Cinema- One-to-one correspondece

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Art, Venue

HYPERONYM: House, Theater, Medium

HYPONYM: Bioscope, Silver Screen

SYNONYM: Movie theater, Celluiloid, Film

EXPANSION: Cinematography

CONTEXT: “I think nowadays you can't talk about cinema without talking about television.
Cinema and television are two faces of the one big planet. They co-habit, bickering as
relations do, envious of one another like rival colleagues. But the image of battling
brothers, constantly threatening and tormenting one another, as if unable to exist other
than within an eternal antithesis, is exaggerated and dated”

CONTEXT SOURCE: http://www.italica.rai.it/eng/principal/topics/literature/macchitella.htm

CONTEXT: Is it possible today for us to conceive teaching methods for the cinema, after
and before Jean-Luc Godard, and to get a “logic of being produced” (Théodore Adorno) in
order to promote and project film making, in the cinema-theatre or at home, to the core of
society?
Where have we got to with “the intermedia network of cinema and television” as Gene
Youngblood saw it in McLuhan’s terms, like a “nervous system of mankind” and a later
“murder of cinema” by remote-controls in the eighties, as Peter Greenaway pointed out?

89
CONTEXT SOURCE:
http://www.figuresinteractives.com/page_en/symposium/presentation_symposium.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Cinema might find itself in front a downfall in the near future, considering
the piracy factor and the pollutant means of merchendising DVD's. Nomather that aspects,
cinemas will stay filled, offering movie lovers the same thrills as they have for over a
century.

DESIGNATION STATUS: Official

CINEMA

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: !. Sala de in care se difuzeaza filme pentru public; 2. Arta si

mijloc de reprezentare a imaginii prin intermediul filmului.

SURSA DEFINITIE: Limbajul Cinematografic, Marcel Martin

NOTA BENE: Din fr. cinéma.

CORESPONDENT EN: Cinema

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Locatie, Arta

HIPERONIM: Casa, Teatru, Mijloc

HIPONIM: Sala de cinema, Actor de cinema

SINONIM: Film, Sala de film

EXPANSIUNE: Cinematografie

CONTEXT: „Am vrut să propunem o altă grilă de lectură a lumii cinemaului care respinge
din start discursul de gen «95% din filmele de azi sunt bune de aruncat la gunoi»“, spune
filozoful, care nu vrea să accepte că cinemaul se împarte în Antonioni, Orson Welles, Fritz
Lang, Eisenstein şi Fellini, iar de partea cealaltă, nimic. „La Eisenstein se uită puţini
cunoscători, pe când 90% din public preferă filmele de la Hollywood, ceea ce nu e
neapărat rău, fiindcă cinematografia, ca singura artă cu origini moderne, e una populară şi
nu elitistă”, pledează Lipovetsky cauza poporului, respingând teza lui Godard că „cinemaul
a murit” din cauza marketingului şi a televiziunii şi susţinând că cinemaul n-a făcut altceva

90
decât să evolueze în „hipercinema”.

SURSA CONTEXT:
http://www.cotidianul.ro/cinemaul_a_creat_o_civilizatie_prin_logica_sistemului_de_staruri-
66999.html

CONTEXT: Bucurestenii nu mai sunt deloc interesati de traditionalele cinematografe din

Capitala. Salile sunt pustii, prafuite si friguroase. Aceasta este imaginea dezolanta de azi a
celebrelor sali de cinema care in urma cu 20 de ani erau pline ochi, chiar de la ora
pranzului, cand filmele rulau cu casa inchisa.

SURSA CONTEXT: http://stiri.rol.ro/content/view/87369/4/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Cinematografia este considerata a 7-a si cea mai complexa dintre arte.
Este in acelasi timp, si cea care sta la temeiul unei dintre cele mai profitabile industrii.

STATUTUL DESEMNARII: Oficial

91
 CINEMATOGRAPHER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A person with expertise in the art of capturing images either
electronically or on film stock through the application of visual recording devices and the
selection and arrangement of lighting.

DEFINITION SOURCE: The Manual of Photography, Jacobson, Ray, Attridge & Axford
Focal Press, New York, 7th Edition, 1978

NOTA BENE: The chief cinematographer for a movie is called the director of photography.
The word cinematography is derived from the Cinématographe of the Lumière Brothers
and applies to the photography of moving images in the making of a motion picture.

RO CORRESPONDANT: Director de imagine

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Photography

HYPERONYM: Lensman, Photographer

SYNONYM: Director of Photography, Camera Operator, Cameraman

ABBREVIATION: D.P., D.O.P.

CONTEXT: With each film the 'collaborating' and/or 'specialized' camerapersons working
on the production are also mentioned. These data are only listed in the filmography of the
1st unit cinematographer, i.e. the cameraperson who is ultimately responsible for the 'look'
of the film.

CONTEXT SOURCE: http://www.cinematographers.nl/

CONTEXT: They scanned Bless The Woman at 2k on Spirit DataCine equipment. Then,
the production team, including cinematographer spent 3 months at the Salamandra
Cinelabs in Moscow, striving to get the look they wanted, a look suggesting faded pictures
from old 1950's movies.

CONTEXT SOURCE: InCamera Magazine, pg5, april, 2004

92
USE AREA/ FIELD: Cinematography, Photography

COMMENTARY: The English system of camera department hierarchy sometimes firmly

separates the duties of the director of photography from that of the camera operator to the
point that the DP often has no say whatsoever over more purely operating-based visual
elements such as framing. In this case, the DP is often credited as a lighting cameraman.
This system means that the director consults the lighting cameraman for lighting and
filtration and the operator for framing and lens choices.
In the American system, which is more widely adopted, the rest of the camera department
is subordinate to the DP, who, along with the director, has the final word on all decisions
related to both lighting and framing.
DESIGNATION STATUS: Official

DIRECTOR DE IMAGINE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Persoana calificata in surpinderea imaginilor pe material digital

sau fotografic,capabila de a indica pozitionarea obiectelor filmate si a luminii in asa fel
incat rezultatul sa reprezinte viziunea regizorului.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Ambele titulaturi, operator de imagine si director de imagine, se utilizează în

practică (ultima fiind de dată mai recentă) niciuna nefiind, din păcate, pe deplin
satisfăcătoare (ori sută la sută adecvată) în cazul filmului de ficţiune.

CORESPONDENT EN: Cinematographer

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Fotografie

HIPERONIM: Fotograf

SINONIM: Operator, Cameraman

ABREVIERE: D.O.P., D.P.

CONTEXT: Directorul de imagine ajuta la crearea atmosferei filmului din punct de vedere
al imaginii. El dispune aranjarea luminii pentru fiecare scena in parte, alege lentilele
potrivite, filmul (rola) si se asigura ca filmul arata cum a dispus si si-a imaginat regizorul.
Directorul de imagine nu opereaza camerele pe platou, el dand aceste indicatii sau lasand
totul la latitudinea operatorului de camera
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SURSA CONTEXT: http://www.cinemarx.ro/info/echipa/

CONTEXT: Oleg Mutu, directorul de imagine al recent premiatului film regizat de Cristian
Mungiu, este acelaşi care a lucrat şi la o altă peliculă de succes, „Moartea Domnului
Lăzărescu", în regia lui Cristi Puiu. Cu două asemenea succese la activ, Oleg Mutu devine
unul dintre apreciaţii operatori europeni.

SURSA CONTEXT: http://www.roportal.ro/stiri/stirea-725744.htm

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: Dacă este o realitate faptul că funcţiile de director de imagine si operator

de imagine aparţin acelui membru al echipei care participă hotărîtor la crearea imaginii
filmice şi la transferul ei pe ecran (în concordanţă cu conceptul plastic al filmului şi
coordonînd un colectiv cu atribuţii specifice), nici termenul de operator, nici cel de director,
nu pare să reflecte corect relaţia sa cu imaginea. Imaginea cinematografică este o sumă
de creaţii (actoricească, scenografică, de costum, de machiaj, pirotehnică, etc) cea
specific „operatoricească” (lumină, compoziţie, mişcare, culoare,etc) fiind şi ea parte din
sumă, practic integrîndu-le. Ideea de a opera sau manipula imaginea pare mai potrivită
realizatorului de documentar, cel care transpune o realitate existentă pe peliculă, prin
intermediul opticii şi al aparatului de filmat. Ideea de director al imaginii pare astfel mai
adecvată filmului de ficţiune, deoarece lumina – cea care face ca tot ceea ce există în faţa
aparatului să se vadă – este o creaţie originală, cu menţiunea că regizor al imaginii
(traducerea corectă din engleză) ar putea fi mai apropiată de adevăr.

STATUTUL DESEMNARII: Oficial

94
 CLAPPERBOARD

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.wordreference.com

STANDARD DEFINITION: A small black or white board or slate with a hinged stick on top
that displays identifying information for each shot in a movie, and is filmed at the beginning
of a take.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The board typically contains the working title of the movie, the names of the
director, the editor, and the director of photography, the scene and take numbers, the date,
and the time. On the top of the clapboard is a hinged wooden stick (called a clapstick or
clapper) which is often clapped to provide audio/visual synchronization of the sound with
the picture during editing.

RO CORRESPONDANT: Clacheta

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Instrumentation

HYPERONYM: Equipment

HYPONYM: Photographic equipment

SYNONYM: Slate board, Sync slate, Sticks, Board, Marker

VARIANT: Clapboard

RESTRICTIVE CONDITION: The shorter version, clapboard, is the one mostly used in the
U.S.

CONTEXT: Large-scale film production can be an absolute mess once you get in the
editing room. There are so many takes for all of the scenes, the audio is often separate
from the video, and it is difficult to make heads or tails of the different clips. A way that the
film industry has traditionally remedied this is with the clapperboard.

CONTEXT SOURCE: http://www.brighthub.com/multimedia/video/articles/8497.aspx

95
CONTEXT: The take number and camera angle are also written out on the slate. This
information assists people in the editing room, allowing them to quickly know what they are
looking at by reading the clapperboard.

CONTEXT SOURCE: http://www.wisegeek.com/what-is-a-clapperboard.htm

USE AREA/ FIELD: Cinematography

COMMENTARY: Clapperboards are now mostly electronic for obtaining better sink.
Independent fil-makers, due to low budgets, sometimes use their hand-clapping and voice
to mark the scene.
When a movie's sound and picture are out of synchronization, this is known as lip flap.

DESIGNATION STATUS: Official

CLACHETĂ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica Filmului de la A la Z, Alexandru Marin, 1979

DEFINITIE STANDARD: Tabela care anunta inceperea filmarii unei secvente. Pe ea sunt
scrise numarul scenei si al dublei care urmeaza a fi filmate.

SURSA DEFINITIE: http://www.proz.com/kudoz/english_to_romanian/cinema

NOTA BENE: Numerele scrise pe placuta ajuta la montajul filmului. Termenul provine de la
interjectia „clac”, sunetul facut cand clacheta este batuta.

CORESPONDENT EN: Clapperboard

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Instrument

HIPERONIM: Echipament

HIPONIM: Echipament fotografic

SINONIM PARTIAL: Tabela

VARIANTA: Slate, Marker

CONTEXT: Bugetul a fost unul redus, ceea ce a făcut ca actorii să facă mai mult decît să-
şi joace rolurile. Valeriu Andriuţă a bătut clacheta şi a făcut pe secretara de platou, Dan

96
Burghelea a făcut şi muncă de secund, iar Alexandru Papadopol şi-a pus la dispoziţie
maşina personală. Locaţiile, printre care Spitalul Ana Aslan din Bucureşti, au fost obţinute,
în mare majoritate, pe gratis. Cele mai grele filmări au fost, spune Cristian Mungiu, cele de
noapte, cînd curcanul Năstase a trebuit săjoaceîn mijlocul unui trafic dezlănţuit, în faţa
Casei Poporului.

SURSA CONTEXT: http://agenda.liternet.ro/articol/1126/Iulia-Blaga/Cristian-Mungiu-

participa-la-un-proiect-international.html

CONTEXT: Grig cu clacheta (secretara de platou, Grigoriţa Rogobete) marchează

reluarea. Pe monitor, regizorul Dan Necşulea urmăreşte scena. Actorii fac pauză, mai
glumesc, apoi repetă. Regizorul le dă indicaţii. Repetă iar. Regizorul secund, Viorica Petre,
verifică, cu textul în faţă, replicile rostite de actori.

SURSA CONTEXT: http://agenda.liternet.ro/articol/5586/Adina-Stefan/Un-film-ca-un-strigat

Oameni-buni-ce-se-intimpla-cu-noi-Tandretea-lacustelor.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: De obicei, nu se mai folosesc clachete pe care se scrie manual, ci

electronice, care afiseaza cu Led-uri secventa, cadrul si dubla. Functia lor principala (pe
langa identificarea cadrului) a fost de a asigura sincronul dintre imagine si sunet, prin
potrivirea la montaj a inchiderii clachetei pe banda de imagine cu pocnitura respectiva din
banda de sunet.

STATUTUL DESEMNARII: Oficial

97
 CLOSE-UP

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: A shot taken from a close distance in which the scale of the
object is magnified, appears relatively large and fills the entire frame to focus attention and
emphasize its importance; i.e., a person's head from the shoulders or neck up is a
commonly-filmed close-up.

DEFINITION SOURCE: Cinema 2/The Time-Image, U.K. 1989Gilles Deleuze

NOTA BENE: extreme close-up (ECU or XCU) is a shot of a part of a character (e.g., face,

98
head, hands) to emphasize detail; also known as detail shot or close on; contrast to long-
shot (LS)

RO CORRESPONDANT: Prim-Plan

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Filming

HYPERONYM: Exposure, Photo, Pic, Photograph

HYPONYM: Extreme Close-up

PARTIAL SYNONYM: Tigh Angle

Variant: Closeup

ANTONYM: Wide-shot

ABBREVIATION: C.U.

CONTEXT: With background music on, we see Apu in a long shot: a dark shawl is
wrapped around him, he walks along a dirt road with an empty kerosene bottle in his hand.
A close-up shot shows rice being boiled in a pot on the stove; the boiling water nearly spills
over as the lid on the pot rises and falls.

CONTEXT SOURCE: http://satyajitray.ucsc.edu/articles/fiction.html

CONTEXT: A man in medium close-up, sweat-drenched, crying out in what might be pain.
His exposed chest suggests a state of undress and, coupled with the copious beads of
moisture dripping down from and flying off of his body, it doesn’t take too much of a leap
before we assume the conjugal worst.

CONTEXT SOURCE: http://www.reverseshot.com/article/munich

USE AREA/ FIELD: Cinematography, Photography

COMMENTARY: Close-ups may be more expensive than other shots due to the extra
lighting and make-up needed.

DESIGNATION STATUS: Official

PRIM-PLAN

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

99
SURSA: www,cinemarx.ro

DEFINITIE STANDARD: Cadru cinematografic în care interpreţii sunt filmaţi de aproape

sau prin intermediul unei lentile ce mareste imaginea, astfel incat detaliile trasaturilor sunt
vizibile sau accentuate. Imaginea obtinuta poate fi socanta si este folosita de regula pentru
a evidentia expresii ale fetei, mimica, stare de spirit, atmosfera etc.

SURSA DEFINITIE: Engleza Producatorului de film- Lucian Picop

NOTA BENE: După frantuzescul „premier plan”

CORESPONDENT EN: Close-up

CATEGORIE GRAMATICALA: Substantiv Compus

CONCEPT GENERIC: Filmare

HIPERONIM: Captura, Fotografie

HIPONIM: Plan larg, Plan apropiat

SINONIM: Grosplan

SINONIM PARTIAL: Cadru strans

ANTONIM: Cadru Larg

CONTEXT: Deseori, in cadrul filmarilor, prim-planul apare prea intunecat din cauza unui
excedent de lumina din spatele acestuia. Un reflector pozitionat pe prim-plan furnizeaza
un nivel constant de lumina, din fata catre spate, capabil sa contracareze acest
inconvenient.

SURSA CONTEXT: http://www.pcworld.ro/?page=node&id=1444&print=true

CONTEXT: Se reia filmarea. Prim-plan resou aprins, dupa care prim=plan contor de curent
blocat cu cliseu. Linga resou, un om sta pe scaunelul plin de ginduri si zice catre camera
de luat vederi: (...)

SURSA CONTEXT: http://forum.level.ro/archive/index.php/t-120968.html

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: Prim-planurile mainilor pot fi forme foarte subtile de sugestie: o mana

curbata sugereaza mangaierea, in timp ce pumnul strans indica furia. Prim-planurile se
concentreaza de regula pe un anumit detaliu pentru a elucida o idee, un concept sau o
emotie, fiind de asemenea folosite si pentru obtinerea unor efecte dramatice.

STATUTUL DESEMNARII: Oficial

100
 Keith Uhlich on Munich

CONTINUITY

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Cinematic Storytelling- Jenniffer Van Sijll, 2005

STANDARD DEFINITION: The system of editing that developed in the early 20th century
to provide a continuous and clear movement of events/images in a film; refers to the final
edited structure of a completed film, with the events or scenes/sequences arranged as if
they had occurred continuously, when, in fact, they were shot out of sequence; continuity
also refers to the degree to which a film is self-consistent without errors, jump cuts, or mis-
matched shots and details.

DEFINITION SOURCE: www.imdb.com

101
NOTA BENE: A continuity cut refers to a editing cut that takes the viewer seamlessly,
unobtrusively, and logically from one sequence or scene to another, to propel the narrative
along; a blooper or flub is a continuity error. A good example of continuity error is a scene
where an actor is wearing a hat when seen from one camera angle and not from another
would lack continuity. A person is often employed to check that continuity is maintained
since reshooting embarrassing lapses in continuity can be prohibitively expensive. In
modern times, some continuity errors can be corrected through digital compositing.

RO CORRESPONDANT: Racord

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Order

HYPERONYM: Book, Playscript, Script

HYPONYM: Coherence

VARIANT: Editing, Cutting

ANTONYM: Discontinuity

CONTEXT: A number of times while watching Martin Scorsese's "The Departed" I was
distracted by cuts that didn't match. I'm not one of those petty "gaffe squadders" who look
for continuity errors -- but I was bugged by actors who shifted in space from shot to shot.

CONTEXT SOURCE:
http://blogs.suntimes.com/scanners/2006/10/the_departed_sloppy_craftsmans.html

CONTEXT: Both of these films use great amounts of continuity editing. We see these type
of names show up in The Good the Bad and the Ugly. This is perfect for the cheese that
we see and hear from the characters. This helps the audience make the connection that
the thugs only move when there is noise to cover the sound of their steps. When we hear
the horses legs stop, we see the thugs legs stop.

CONTEXT SOURCE: http://www.megaessays.com/viewpaper/46422.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Continuity is the main concern on a shooting set and is under the care of
the continuity assistant, usually a girl, or a floor secretary.

DESIGNATION STATUS: Official

RACORD

LIMBA VEDETEI: Romana

102
TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- lucian pricop

DEFINITIE STANDARD: Coerenţă logică între diferitele planuri ale unei opere
audiovizuale sau cinematografice; operaţie de urmărire a continuităţii scenariului, având în
vedere că scenele nu se filmează în ordinea naraţiunii.

SURSA DEFINITIE: htmlhttp://www.cinemarx.ro/info/dictionar/

NOTA BENE: Racordul implica fluiditatea organizării estetice sau intelectuale ale unei
opere prin participarea unui scenarist însărcinat cu adaptarea unui scenariu anterior si a
unei secretare de platou.

CORESPONDENT EN: Conitnuity

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Ordine

HIPERONIM: Scenariu

HIPONIM: Coerenta

SINONIM: Continuitate

VARIANTA: Editare, Montaj

ANTONIM: Discontinuitate

CONTEXT: La decor, racordul cel mai frecvent uitat sunt obiecte sau actori amplasati in
decor la un cadru, care trebuie sa existe (mai ales sa MAI existe) in aceeasi pozitie si la
urmatorul cadru pentru a realiza continuitatea (asta in cazul in care nu i-a fost schimbata
pozitia, voit, vizibil, pe parcursul cadruluii). De foarte multe ori dispar obiecte sau persoane
din decor. Se vede si e urat! La fel si in cazul usilor/ferestrelor inchise/deschise, a
vestimentatiei actorilor identica etc.

SURSA CONTEXT: http://filmmaking.ro/2009/01/continuitatea-in-film/

CONTEXT: Racordul luminii este necsar pentru a mentine lumina egala de la cadru la
cadru. Se poate intampla, mai ales in exterior ca un cadru tras sa fie mai luminos (cu
soare), celalalt cu diferenta de lumina (daca au aparut norii). In studio la fel. Cheia de
lumina va trebui sa pice la fel in toate cadrele dintr-o secventa care necesita continuitate.

SURSA CONTEXT: http://filmmaking.ro/2009/01/continuitatea-in-film/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Racordul este unul dintre cele mai importante aspecte ale filmării,
deoarece implică modul în care legătura dintre cadrele unei secvenţe păstrează ideea de
continuitate (de acţiune, de privire, de lumină, de costum, de recuzită,etc).
103
Iata un exemplu de lipsa de racord: în filmul Pretty Woman, la micul dejun Julia Roberts
începe cu un croissant care devine în cadrul următor clătită, iar în filmul Gladiator la un car
roman se poate vedea o butelie de gaz.

STATUTUL DESEMNARII: Oficial

CRANE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A large camera dolly or electronic device resembling a

extendable mechanical arm that can raise the camera up in the air above the ground 20
feet or more; the crane allows the camera to fluidly move in virtually any direction (with
vertical and horizontal movement), providing shifts in levels and angles;

DEFINITION SOURCE: www.imdb.com

104
NOTA BENE: Crane shots usually provide some kind of overhead view of a scene a
common way of ending a movie. Some filmmakers like to have the camera on a boom arm
just to make it easier to move around between ordinary set-ups. One example of this
technique is the shots taken by remote cranes in the car-chase sequence of To Live and
Die in L.A..

RO CORRESPONDANT: Macara

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Utility

HYPERONYM: Lifting device

HYPONYM: Transporter

CONTEXT: The television comedy Second City Television (SCTV) uses the concept of the
crane shot as comedic material. After using a crane shot in one of the first NBC-produced
episodes, the network complained about the exorbitant cost of renting the crane. SCTV
writers responded by making the "crane shot" a ubiquitous symbol of production excess
while also lampooning network executives who care nothing about artistic vision and
everything for the bottom line. At the end of the second season, an inebriated Johnny
LaRue is given his very own crane by Santa Claus, implying he would be able to have a
crane shot whenever he wanted it.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Crane_shot

CONTEXT: Jean-Luc Godard, in his film Sympathy for the Devil, used a crane for almost
every shot in the movie, giving each scene a 360 degree tour of the tableau Godard
presented to the viewer. In the final scene he even shows, on camera, the crane he was
able to rent with his budget by including it in the scene somewhat. This was one of his
traits as a filmmaker - showing off his budget - as he did with Brigitte Bardot in Le Mepris
(Contempt).

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Crane

USE AREA/ FIELD: Cinematography

COMMENTARY: A shot taken by a camera on a crane, or a crane shot, is often used to

show the actors/action from above. Some times, a crane shot is called a top shot or foxy
shot (from the name of type of crane).
Cranes usually carry both the camera and a camera operator, but some can be operated
by remote control.

DESIGNATION STATUS: Official

MACARA

105
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica fotografierii şi aparatura de filmare, Paul Alexandrescu, Alexandru

Petculescu, Iuliu Popescu, 1973

DEFINITIE STANDARD: Utilaj cu brat metalic inalt sau extensibil pe care se montează
aparatul de filmat.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Imaginile filmate de pe macara dau o perspectivă similară cu planul general.

CORESPONDENT EN: Crane

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Utilaj

HIPERONIM: Aparatura de ridicare

HIPONIM: Transportator

VARIANTA: Macara video

CONTEXT: Numeoase cadre filmate de pe macara, chiar si in interior, precum si folosirea

frecventa a camerei fixe au pus probleme suplimentare designerului de productie. Pe
langa provocarile inerente in transformarea unui oras baroc ,Praga, in New Jersey, el a
trebuit sa se asigure ca decorurile lui erau ajustabile si suficient de mari pentru a permite
orice miscare a camerei de filmat. A fost interesant cum am colaborat cu directorul de
imagine incercand sa stabilim cat de fizice sa fie decorurile si cum sa le valorificam din
perspectiva camerei de filmat.

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=14586&what=article&article_id=13669

CONTEXT: Pentru ca face cascadorie de trei ani si jumatate, solista trupei Spin, Roxana,
a filmat de pe macara si, dupa cum spune si ea, "a zburat prin barul Princess". "M-am
simtit ca la o filmare de videoclip, dar diferenta a facut-o faptul ca am fost alaturi de
personaje dragi mie", a marturisit Roxana

SURSA CONTEXT: http://cinema.acasa.ro/stiri-cinema/noutati/roxana-spin-cascadorie-in-

iubire-ca-n-filme

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Macaraua de filmare este aparatura care permite luarea unor cadre largi
si de ansamblu, uneori chiar de la 100 de metri inaltime.

STATUTUL DESEMNARII: Oficial

106
 CUT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.merrian-webster.com

STANDARD DEFINITION: A change in camera angle or placement, location, or time. "Cut"

is called during filming to indicate that the current take is over.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: A "cut" of a movie is also a complete edited version.

107
RO CORRESPONDANT: Stop

GRAMMATICAL CATEGORY: Verb

GENERIC CONCEPT: Decision

HYPERONYM: Stop

PARTIAL SYNONYM: Freeze Frame

ANTONYM: Roll Camera

CONTEXT: But what if Paramount is right? I loved Fincher’s Zodiac, but I think the
theatrical cut could have benefited by losing 20-30 minutes on the back end. (Hey, there
will always be a director’s cut on DVD) It seems to me that Paramount might believe they
are in the same situation with Button.

CONTEXT SOURCE: http://www.slashfilm.com/2008/09/02/confirmed-paramount-feuds-

with-david-fincher

CONTEXT: Putting his filmmaking expertise to work, Spielberg criticizes the gaming
industry for its use of low-quality cut scenes. The popular filmmaker says that the feelings
from the cut scenes aren't kept in the action of the game, especially in first person
shooters, where you get back to fulfilling missions.

CONTEXT SOURCE:http://news.softpedia.com/news/Steven-Spielberg-Likes-
Videogames-But-Hates-Cut-Scenes-99661.shtml

CONTEXT: By the next day, Fincher could look at scenes cut by the editors in Final Cut
Pro and posted as QuickTime movies on PIX (Picture Information Exchange), used
throughout production and post for remote collaboration.

CONTEXT SOURCE: http://www.apple.com/finalcutstudio/action/button/index2.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Considering the fact that shooting on film seems to easily be replaced by
shooting digitally, the cut command might not make sence and be replaced by „stop” or
other digital vocabulary term. As for other uses of the term, the final cut - or creative
control - is the Holly Graal of filmmaking - especially in the U.S., where the studio or
distributor has the final cut on the movie. Some directors or producers, because of their
success, are able to negotiate having the final cut. In France because of the "auteur"
politics, the final cut always belongs to the director.

DESIGNATION STATUS: Official

STOP

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LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Stop ! – ordin dat de regizor, care marchează finalul luării de
imagini, oprirea aparatului de filmat.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Poate alterna cu „Taiati!”

CORESPONDENT EN: Cut

CATEGORIE GRAMATICALA: Sintagma nominala

CONCEPT GENERIC: decizie

HIPERONIM: Incetare

VARIANTA: Taiati!

ANTONIM: Motor!

CONTEXT: Avantajul de a fi regizor e acela ca poti crea o lume a ta, in care Dumnezeu
esti numai tu si in care ai privilegiul de a spune "actiune" si "stop" ori de cate ori nu-ti
convine ceva. Asta a urmarit si Thomas, atunci cand a hotarat sa faca un film prin care sa
retraiasca ultima sa poveste de dragoste. Totul pentru a-si vindeca "ranile" neinchise, dar
si pentru a se razbuna pe amanta sa Noa.

SURSA CONTEXT: http://www.zf.ro/dupa-afaceri/stop-cadru-femeia-visurilor-cosmarul-

barbatilor-3017921/

CONTEXT: Nu s-a sfarsit aici. M-a luat in brate si m-a trantit pe jos. Trantit e un fel de a
spune, pentru ca de fapt a fost grijuliu. Nu si eu, care "i-am servit" un toc in glezna. A
ramas surprins o clipa. Si din nou regizorul: "Stop!". In sfarsit!

SURSA CONTEXT: http://www.eva.ro/divertisment/articol13.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Stop-cadru este un efect de imagine concretizat în „îngheţarea” mişcării,

într-o „fotografie”: Freeze frame.
Cut mai însemnă şi „Montaj” în sensul de copie montată a unui film. (First Cut, Final Cut,
Director’s Cut)

STATUTUL DESEMNARII: Oficial

109
 DAY-FOR-NIGHT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A cinematographic technique for using shots filmed during the
day to appear as moonlit night shots on the screen, by using different lenses, filters,
special lighting and underexposure.

110
DEFINITION SOURCE: Film as Art, Rudolf Arnheim University of California Press, 1957

NOTA BENE: This technique was very common during the 50s and in the 60s, but has
largely disappeared owing to advances in film technology and increasing viewer
expectations .

RO CORRESPONDANT: Noapte Americana

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Lighting Technique

SYNONYM: nuit américaine

RESTRICTIVE CONDITION: The term is still used although the practice of Day-for_night
use is almost absolete.

CONTEXT: Call it digital day for night, the latest version of the practice by which scenes
shot in daylight “pass” for nighttime cinematography. It’s a workaround, a cheat, like all
visual effects, in some sense nothing more than an upgraded cousin of the rear-projected
backgrounds showing characters at seaside when they’re really sitting on a blanket on a
soundstage. It’s the hallmark of an emerging mode of production, one that’s swiftly
becoming the new standard.

CONTEXT SOURCE: http://graphic-engine.swarthmore.edu/?p=120

CONTEXT: Reading the meter is discussed by Caleb Deshanel, ASC who states,
"Basically I use the meter after I have finished lighting" to Malkiewicz who states, "a
caucasian face has about 35 percent reflectance, but a black face reflects less than 16
percent." He goes on to e who states, "a caucasian face has about 35 percent reflectance,
but a black face reflects less than 16 percent." He goes on to explain the proper technique
for exposing dissimilar facial colors with reflective metering. The late James Wong Howe,
ASC and Jordan Cronenweth, ASC are quoted describing their day-for-night techniques.

CONTEXT SOURCE: http://www.amazon.co.uk/Film-Lighting-Hollywoods-

Cinematographers-Gaffers/dp/0671766341

USE AREA/ FIELD: Cinematography, Photography

COMMENTARY: Mainly intended to avoid costly (and technically challenging) night filming,
outside scenes can instead be shot during the day, with special blue filters and under-
exposed film to create the illusion of darkness or moonlight. Lighting the characters two to
three stops more than the background also helps the effect, but doing so requires powerful
lights to compete with the sun. Many of the night scenes in the film Jaws, for instance,
were done this way.

DESIGNATION STATUS: Official

NOAPTE AMERICANĂ
111
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

DEFINITIE STANDARD: Procedeu de filmare în timpul zilei cu filtre puternice, pentru a

imita
noaptea, foarte folosit în anii ’50 - ’60, dar foarte rar în zilele noastre.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Traducerea romaneasca provine din francezul „nuit américaine”

CORESPONDENT EN: Day-for-Night

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Tehnica de iluminat

SINONIM: nuit américaine

CONTEXT: Efectul de noapte în cinematografie: Numit si Day for Night sau Noapte
americana acest efect , mentionat si mai sus, este obtinut prin filmari în cursul zilei dar prin
folosirea unor mijloace specifice inclusiv prin recurgerea la ajutorul filtrelor de polarizare,
degrade, etc. Realizarea efectului de noapte prin filmari în timpul zilei aduce mari economii
la cheltuielile de productie, filmarile de noapte presupunând un mare consum de energetic
pentru iluminarea scenelor. Acestui procedeu i se va dedica în curând un articol separat

SURSA CONTEXT: http://www.f64studio.ro/art_PIII.php

CONTEXT: Fotografia tip noapte americana poate fi simulata pe un film alb negru (in
cinematografia veche procedeul fiind destul de raspandit) prin folosirea unor filtre
corespunzatoare si subexpunand dupa caz. Filtru rosu pe alb negru, ND-uri si o usoara
subexpunere pentru color sau o combinatie de film mai contrast putin si o subexpunere
lejera sunt "trucuri" pentru cei doritori de a fotografia ziua cu "iz" de noapte.

SURSA CONTEXT:
http://www.foto-magazin.ro/foto-tehnica_open.php?art=ftm20/archives/2006/06/
fotografia_de_n_1.html

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: Cu toate ca in multe dintre tarile cu productie cinematografica dezvoltata

acest procedeu aproape ca nu mai este valabil, ci reprezinta mai mult o amintire
pitoreasca a pionieratului in film, in Romania tehnica inca mai este sbordata in cazuri de
filmare peste program.

STATUTUL DESEMNARII: Oficial

112
 DEPTH OF FIELD

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: A measure of the range along a camera's line of site in which
objects will be in focus.

113
DEFINITION SOURCE: www.imdb.com

NOTA BENE: Depth of field specifically refers to the area, range of distance, or field
(between the closest and farthest planes) in which the elements captured in a camera
image appear in sharp or acceptable focus; as a rule of thumb, the area 1/3 in front of and
2/3 behind the subject is the actual distance in focus; depth of field is directly connected,
but not to be confused with focus.

RO CORRESPONDANT: Profunzime de camp

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Optics

HYPONYM: Aperture

ABBREVIATION: DOF

CONTEXT: Depth of field can change a character's size as they move within the frame and
represent a character's size relative to other characters within the frame.

CONTEXT SOURCE: Cinematic Storytelling- Jenniffer Van Sijll, 2005

CONTEXT: Depth of field is heavily used in photography, film and computer graphics as a
creative element, in typical examples ranging from portraiture to macro photography. In
photography, DOF is governed by three factors: aperture, lens focal length and shooting
distance. Many consumer class cameras, however, do not provide sufficient and
independent control of these parameters.

CONTEXT SOURCE: http://www.dofpro.com/info.htm

USE AREA/ FIELD: Cinematography

COMMENTARY: Depth of field usage is ment to make objects shot on film look like they
were shot on video. A good depth of field has to have an object in foreground and out of
focus. Example: Extreme depth-of-field in many shots in Citizen Kane (1941) to heighten
dramatic value, achieved by using very bright lighting and a slightly wide-angled lens by
cinematographer Gregg Toland, causing objects or characters close in the frame's
foreground to appear massive, while other objects appear smaller in the background; other
scenes with extreme depth-of-field include the early snowball scene, the 'Crash of '29'
scene, and Susan's overdose scene .

DESIGNATION STATUS: Official

PROFUNZIME DE CÂMP

LIMBA VEDETEI: Romana

114
TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Calitate fotografica, mărime variabilă care depinde de distanţa

dintre subiect şi cameră, deschiderea diafragmei şi lungimea focală a obiectivului.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Profunzimea de camp este in mod deosebit atribuita in prezent filmelor 3D

CORESPONDENT EN: Depth of field

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Optica

HIPONIM: Cadru de profunzime

SINONIM: Arie de focus

VARIANTA: Depth of field

CONTEXT: Pentru a se obţine o profunzime de câmp mai mare, s-a folosit diafragma 22.
Difracţia care însoţeşte diafragma foarte închisă alterează însă sensibil definiţia, iar
profunzimea de camp rămâne totuşi, cu toate acestea, încă insuficientă

SURSA CONTEXT: http://www.f64studio.ro/art_22.php

CONTEXT: De ceva vreme sunt fascinat de pozele care au o profunzime de camp cat mai
mica, adica obiectul pe care fac focus apare clar in poza iar cele aflate in plan mai apropiat
sau mai departat apar neclare pentru ca astfel obiectul pe care este focus este scos in
evidenta. Profunzimea campului (termen mai cunoscut in engleza Depth of Field - DoF)
este conform definitiei distanta in limitele careia obiectele asezate la intervale diferite fata
de obiectiv apar clare in imaginea formata pe senzorul CCD la aparatele digitale sau pe
filmul fotosensibil la aparatele cu film. Aceasta calitate depinde de distanta focala
(profunzimea scade odata cu marirea distantei focale), de deschiderea utila a obiectivului
(de micsorarea orificiului diafragmei), de distanta pana la obiectul pe care am facut focus,
precum si de neclaritatea maxima admisa la fotografiere.

SURSA CONTEXT: http://www.imageant.com/blog/tehnica-foto/profunzimea-campului/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Profunzimea de camp este aria de focus a unui obiectiv fotografic. Este
controlata de distanta focala si deschiderea de diafragma. Daca diafragma este mare,
profunzime este mica si vice versa.

STATUTUL DESEMNARII: Oficial

115
 DIRECTOR

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: http://www.merriam-webster.com/

116
STANDARD DEFINITION: Director; Synonim: Helmer; The principal creative artist on a
movie set. A director is usually (but not always) the driving artistic source behind the
filming process, and communicates to actors the way that he/she would like a particular
scene played. A director's duties might also include casting, script editing, shot selection,
shot composition, and editing.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: Typically, a director has complete artistic control over all aspects of the
movie, but it is not uncommon for the director to be bound by agreements with either a
producer or a studio. In some large productions, a director will delegate less important
scenes to a second unit.

RO CORRESPONDANT: Regizor

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Management

HYPERONYM: Supervisor

HYPONYM: Film director

SYNONYM: Helmer, Theatre Director

ABBREVIATION: Dir

CONTEXT: If anyone saw Live Free or Die Hard, you were treated to a decent movie with
some ridiculous action as well as a small Gears of War cameo (a kid is playing it right
before his untimely demise). Could that have been a foreshadowing or just a coincidence?
The director of that (as well as Underworld Evolution) has been signed to work on the live
screen adaptation of the popular gaming franchise. His name is Len Wiseman and his
hairstyle is eerily similar to Mr. Epic himself, Cliff Bleszinski.

CONTEXT SOURCE: http://www.xbox360achievements.org/news/news-1216-Gears-of-

War-Movie-Lands-a-Director.html

CONTEXT: This Virginia Woolf also is mounted on a thrust stage with the audience seated
on three sides. That increases the feeling of intimacy - and paradoxically the sense of
threat. We peer at the actors from our haven of darkness like wild animals circling a
campfire.
The talented director Ethan McSweeny elicits first-rate performances from his top-notch
cast.

CONTEXT SOURCE: http://www.centerstage.org/page.php?pageID=529

USE AREA/ FIELD: Cinematography, Theatre, Television, Business

COMMENTARY: the head of the family, needs to answer all the questions

DESIGNATION STATUS: Official

117
 REGIZOR

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Regizorul este responsabil pentru toate aspectele ce tin de

creatie intr-un film. El este consultat in privinta angajarii actorilor, alegerii locatiilor de
filmare si planuieste filmarile chiar inaintea inceperii lor. In timpul acestora, el/ea
supravegheaza actorii si echipa, stabileste filmarile si respecta orarul filmului si bugetul
acestuia.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: De aceasta data termenul romanesc provine din frantuzescul „regisseur” si
nu are legatura cu forma englezeasca, desi termenul desemna calitatile unui administrator
de locatii, si nu ale unui regizor.

CORESPONDENT EN: Director

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Conducere

HIPERONIM: Supraveghetor

HIPONIM: Regizor de film

SINONIM PARTIAL: Regizor de teatru

CONTEXT: Christopher Nolan, regizorul celui mai recent film din seria “Batman” - "The
Dark Knight/Cavalerul Negru" -, este acuzat că ar fi furat numele unui oraş din Turcia.
Primarul localităţii Batman, un vechi oraş petrolier din sud-estul Turciei, l-a dat în judecată
pe Christopher Nolan, regizorul celui mai recent film din seria “Batman”, acuzându-l de furt
de nume.

SURSA CONTEXT:
http://www.tabu.ro/articol_1956/
regizorul_filmului____batman_____acuzat_ca_a_furat_numele_unui_oras_turcesc.html

CONTEXT: Anul trecut, regizorul roman Cristian Mungiu a fost castigatorul premiului
Palme d’Or la Festivalul de Film de la Cannes cu filmul sau „4, 3, 2”. O productie cu buget
redus, filmat in intregime in Romania, intr-un decor sumbru al regimului comunist. Este
povestea unei tinere studente insarcinate, care cu ajutorul prietenei sale, cauta sa
avorteze ilegal. Dupa un an, Mungiu a fost ales sa faca parte din juriul Europe Day (Ziua

118
Europei) la Cannes, care intentioneaza sa promoveze cinematograful european, sub
patronatul lui Viviane Reding, Comitetul Culturii si Presedintele UE, Barosso. Euronews a
discutat cu regizorul Mungiu despre filmul sau mult aclamat, parerea sa despre actualul
cinematograf european si dificultatile pe care le intalnesc regizorii din zona.

SURSA CONTEXT: http://www.videofil.ro/news/interviuri/regizorul-cristian-mungiu-despre-

cinematografia-europeana.html

ARIE DE UTILIZARE: Cinematografie, Teatru, Televiziune

COMENTARIU: Regizorul este in general angajat de catre un producator, cu exceptia

situatiei in care chiar el este producatorul filmului in cauza.

STATUTUL DESEMNARII: Oficial

DOLLY

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Studying Film, Nathan Abrams, Ian Bell and Jan Udris-, 2001

119
STANDARD DEFINITION: A dolly is a small truck which rolls along dolly tracks carrying
the camera, some of the camera crew and occasionally the director. "Dolly" is also the
action of moving the camera towards (dolly up/in) or away from (dolly/pull back) the object
that it is pointing at. The term often appears in screenplays.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The first dolly shot was made by Georges Méliès by putting his camera on a
small boat, with a paddle. As for low budget, or independent movies, dollies are usually
consisting of wheelchairs.

RO CORRESPONDANT: Dolie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Movement

HYPERONYM: Conveyance, Transport

HYPONYM: Dolly Shot, Dolly Up, Dolly In, Dolly Back

CONTEXT: The venerable dolly faced serious competition when the Steadicam was
invented. Most shots previously only possible with a dolly could now be done with the
more versatile Steadicam. However dollies are still preferred for many shots, especially
those that require a high degree of precision.

CONTEXT SOURCE: http://www.mediacollege.com/video/shots/dolly.html

CONTEXT: So I have a dolly shot clip for a short film, and there's a hop in the track, and I
know that pretty much the only way to achieve this is with motion tracking, but I've never
really done any motion tracking. I konw there's tutorials online, but can someone point me
in the right direction to a tutorial that would pertain to this a little better?

CONTEXT SOURCE: http://forums.creativecow.net/thread/2/946730

USE AREA/ FIELD: Cinematography

COMMENTARY: There is a subtle difference between the results of a zoom shot and a
dolly shot. In a zoom, the relative positions and sizes of all objects in the frame remains
the same, whereas in a dolly shot this will change as the camera moves. Alfred Hitchcock's
much-imitated shot in Vertigo used a combination zoom-in and dolly back, resulting in a
dramatic change in perspective.

DESIGNATION STATUS: Official

DOLIE

120
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Se referă fie la un echipament de filmare, fie la o mişcare de

aparat executată cu ajutorul acestui echipament (mişcare de dolie)

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Termenul este o adaptare a variantei englezesti „dolly”

CORESPONDENT EN: Dolly

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Miscare

HIPERONIM: Mutare, Transport

HIPONIM: Cadru de dolie, Miscare de dolie

SINONIM: Carucior

CONTEXT: La baza casei cu vârful ascuţit se vede barza întinsă pe pământ; e primul
cadru de dolie care arată diferitele case din sat cu feluritele lor accesorii.
Nu se mişcă nimic până când drumul principal e gata să iasă din cadru când e surprinsă
mişcarea unui “ceva” neclar : camera se întoarce ca să vedem despre ce e vorba.

SURSA CONTEXT:www.visualart.ro/forum/attachment.php?
attachmentid=40253&d=1131094226

CONTEXT: Gabriel Kosuth semneaza o imagine plastica, realizata cu multe miscari de

camera, ce dau ritm taieturii cinematografice. La filmari s-a lucrat pe un playback dat
foarte clar pe un soft de prelucrare de sunet. Pana si masinistului i s-a spus sa se miste cu
dolia in ritmul si pe fraza muzicala. Este un videoclip in care modalitatea de exprimare este
una cinematografica.

SURSA CONTEXT: http://music.kappa.ro/unde_muz__detalii/sec__oficiale/art__13492

ARIE DE UTILIZARE: Cinematografie, Constructii

COMENTARIU: Cărucior pentru deplasat camera (traveling) care rulează pe şine, pe care
se montează
aparatul de filmat pentru a se filma scene în mişcare.

STATUTUL DESEMNARII: Oficial

121
 EDITING

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

122
SOURCE: www.imdb.com

STANDARD DEFINITION: the process (performed by a film editor) of selecting,

assembling, arranging, collating, trimming, structuring, and splicing-joining together many
separate camera takes (includes sound also) of exposed footage (or daily rushes) into a
complete, determined sequence or order of shots (or film) - that follows the script; digital
editing refers to changing film frames by digitizing them and modifying them electronically;

DEFINITION SOURCE: Film As Art- Rudolf Arnheim University of California Press, 1957

NOTA BENE: relational editing refers to editing shots to suggest a conceptual link between
them; an editor works in a cutting room; the choice of shots has a tremendous influence
upon the film's final appearance.

RO CORRESPONDANT: Montaj

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Selecting

HYPERONYM: Creating by removal

SYNONYM: Cutting

VARIANT: The invisible art, Film editing

ANTONYM: Mise-en-scene

CONTEXT: When we watch a film, most of us have great difficulty in consciously

perceiving the editing. Of course we know that every time there is a shift from one image
to another, it is an edit, and we know that editing in general has to do with the establishing
of rhythm in film. But we are often not sure of the concrete function of editing, and likewise
of the contribution the editing process makes to the final film.

CONTEXT SOURCE: http://pov.imv.au.dk/Issue_06/section_1/artc2A.html

CONTEXT: As Walter Murch once said - “Film editing is now something almost everyone
can do at a simple level and enjoy it, but to take it to a higher level requires the same
dedication and persistence that any art form does”. The editing in film often goes
unnoticed. However, if one does not notice the editing, then it is doing its job. The editor
works on the subconscious of the viewer, and controls “the story, the music, the rhythm,
the pace, shapes the actors’ performances, ‘re-directing’ and often re-writing the film
during the editing process, honing the infinite possibilities of the juxtaposition of small
snippets of film into a creative, coherent, cohesive whole.

CONTEXT SOURCE: http://listverse.com/entertainment/top-10-best-film-editing-

sequences/

USE AREA/ FIELD: Cinematography

COMMENTARY: Film editing is the only art that is unique to cinema and which separates
123
film making from all other art forms that preceded it (such as photography, theater, dance,
writing, and directing). However there are close parallels to the editing process in other art
forms such as poetry or novel writing. It is often referred to as the "invisible art", since
when it is well-practiced, the viewer becomes so engaged that he or she is not even aware
of the work of the editor.

DESIGNATION STATUS: Official

MONTAJ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Cinema... un secol si ceva - o istorie cronologica a cinematografului mondial, C.

Corciovescu, Bujor T. Rapeanu

DEFINITIE STANDARD: Tehnica de asamblare a imaginii cu sunetul într-o ordine logică şi

coerentă, conform scenariului.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Cuvantul provine din frantuzescul „montage”, la fel ca si corespondentul

englezesc care, in schimb, denumeste tehnica de colaj. Persoana care se ocupa de acest
aspect al post-productiei se numeste monteur.

CORESPONDENT EN: Montage

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Compozitie

HIPERONIM: Imagine

HIPONIM: Fotomontaj

SINONIM: Editare

SINONIM PARTIAL: Colaj

ANTONIM: Mizanscena

CONTEXT: Pe timpul studentiei la University of Wisconsin, Madison, Mark a lucrat si in

camera de proiectie de film si ca DJ la radio.
Dupa ce s-a mutat la Hollywood, Mark a lucrat la montajul unor filme artistice. Printre
filmele la care a lucrat si care au inregistrat incasari record se afla: X-Men:The Last Stand,
toate cele trei filme Rush Hour, The Family Man, Money Talks, Predator, Scary Movie,
printre altele.

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SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=18455&what=article&article_id=20087

CONTEXT: - Nu vreau sa generalizez. Filmul arata prin ce trauma poti trece in momentul
in care ascunzi o minciuna dupa ce faci un act de lasitate. Chiar daca la inceput actul pare
mic si neinsemnat, chiar daca te amagesti spunand ca ai facut ce-ai putut, ca vei repara
greseala, el ramane si te macina launtric, iar asta devine dramatic.
- Montajul filmului si premiera sunt deja programate?
- Montajul da, va fi gata in prima jumatate a lunii octombrie, iar premiera va avea loc,
probabil, la inceputul anului viitor, dupa predarea copiei-standard la CNC.

SURSA CONTEXT: http://www.zf.ro/ziarul-de-duminica/intre-doua-filme-despre-tradare-si-

disperare-in-romania-2876965/

ARIE DE UTILIZARE: Cinematografie, Fotografie, Televiziune

COMENTARIU: Montajul presupune partea cea mai importanta de post-productie a unui

film si poate dura de la cateva lunii pana la un an. Presupune aranjarea, selectia şi
asamblarea filmul, a benzii video sau audio, pentru mixajul final.
Monteurii sunt prezenti la filmarea diferitelor secvente, pentru a observa si da indicatii
ajutatoare. Desi monteurii sunt foarte importanti, filmul ramane totusi opera regizorului.

STATUTUL DESEMNARII: Oficial

EXTRAS

ID LANGUAGE: English

125
ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A group of minor actors in a crowd scene.

DEFINITION SOURCE: The Sage's English Dictionary and Thesaurus

NOTA BENE: One small role actor is called an „extra”, term which can find itself next to an
Adjective, giving it an absolute degree of comparison.

RO CORRESPONDANT: Figuratie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Acting

HYPERONYM: Actor, Histrion, Player, Thespian

SYNONYM: Spear Carriers

ANTONYM: Leads, Stars, Main Actors

CONTEXT: Tonight Gus Van Sant shot with hundreds of extras in front of the newly-
renovated Castro movie theater (looking more beautiful than it did in the 1970’s) for the
new Sean Penn movie Milk.

CONTEXT SOURCE: http://www.slashfilm.com/2008/02/04/hundreds-of-extras-march-on-

castro-for-gus-van-sants-milk/

CONTEXT: We were shooting in a nightclub on the Sunset Strip. The extras were divided
into three camps: union, nonunion, and Modesto extras. Union extras earn the most,
especially once overtime kicks in, so they were wrapped after eight hours. (They were only
hired in the first place to fill a union quota.) This was during my nonunion days (I'm in SAG
now), so I put in a full 14 hours, after which we were paid in cash and wrapped. The
Modesto extras were still working when we left.

CONTEXT SOURCE: http://communistvampires.blogspot.com/2007/12/how-extras-were-

exploited-on-embrace-of.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Acording to the D.G.A. and S.A.G., if the director talks directly to an extra,
the extra becomes an actor and he gets his salary doubled.

DESIGNATION STATUS: Official

FIGURAŢIE

LIMBA VEDETEI: Romana

126
TARA VEDETEI: ROMANIA

SURSA: www.dexonline.ro

DEFINITIE STANDARD:

SURSA DEFINITIE: Parte a distributiei unui film formata din actori fara replici. Acestia sunt
alesi in special pentru scene de multime.

NOTA BENE: Uneori un figurant apare pentru o fractiune de secunda pe inregistrarea unei
secvente, silueta lui abia putand fi distinsa.

CORESPONDENT EN: Extras

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Interpretare

HIPERONIM: Actor

HIPONIM: Figuratie Speciala, Figuratie Simpla

ANTONIM: Distributie principala

CONTEXT: Auzi despre ele la tot pasul: "Am fost la un casting pentru o reclama", "Vreau
un rol de figuratie", "Ah, ce n-as da sa-mi spuna cei de la agentie ca am luat proba"...

Nu radeti de ei. Invidiati-i pe cei care au atata curaj incat participa la aceste preselectii. Nu
e usor ce fac ei. Iar eu o stiu din proprie experienta.

SURSA CONTEXT: http://www.eva.ro/divertisment/articol13.html

CONTEXT: Faimosul figurant Tolea Ciumac apare in filmul “Made in Romania”, in care
joaca si actrita Elizabeth Hurley. Filmarile au avut loc in 2007, la Castel Film, iar Tolea se
afla in postura unui politist musculos, intr-un rol de figuratie.

SURSA CONTEXT:
http://www.gardianul.ro/index_blank.php/pag=news_print&id=127546&catid=&p=

ARIE DE UTILIZARE: Cinematografie, Teatru, televiziune

COMENTARIU: Figuratia este, de cele mai multe ori, platita la fel indiferent daca este
speciala sau simpla, adica daca un figurant are minim un cuvant de spus sau niciunul.

Deasemenea este oblogata sa asiste la filmare atat cat este mentionat in contract,
indiferent daca ziua lor de filmare consta intr-un singur cadru.

STATUTUL DESEMNARII: Oficial

127
FEATURE FILM

128
ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A movie at least 40-45 minutes (2 reels) long intended for
theatrical release.

DEFINITION SOURCE: Film As Art- Rudolf Arnheim University of California Press, 1957

NOTA BENE: The term is also used for feature length, direct-to-video and television movie
productions.

RO CORRESPONDANT: Lung Metraj

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Show

HYPERONYM: Film, Flick, Motion-Picture Show, Movie, Picture

HYPONYM: Western, Horse Opera

SYNONYM: Feature

VARIANT: Theatrical

ANTONYM: Short film

CONTEXT: A new era of Star Wars entertainment begins in 2008 when Star Wars: The
Clone Wars, from creator George Lucas, premieres as an all-new feature film in August,
followed by the television series debut in the fall, in a partnership announced today
between Lucasfilm Ltd., Warner Bros. Pictures and Turner Broadcasting System Inc.

CONTEXT SOURCE: http://www.starwars.com/theclonewars/news/announcement.html

CONTEXT: The Internet has democratized information and given us the ability to "poke"
each other on Facebook. Now it has brought that same decisive dissemination to
filmmaking, as the first feature film created entirely by an Internet community is set to
debut in January.

CONTEXT SOURCE: http://arstechnica.com/old/content/2008/12/first-internet-created-

feature-film-debuts-next-month.ars

USE AREA/ FIELD: Cinematography

COMMENTARY: A feature film today needs to be longer than 80 mn to be released in a

theatre. Early proto-features had been produced in America and France, but were released
in individual scenes, leaving the exhibitor the option of running them together. The
American company S. Lubin released a Passion Play in January 1903 in 31 parts, totalling
about 60 minutes. The French company Pathé Frères released a different Passion Play,
129
La Vie et la passion de Jésus Christ, in May 1903 in 32 parts running about 44 minutes.
There were also full-length records of boxing matches.

DESIGNATION STATUS: Official

LUNG METRAJ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemagia.ro

DEFINITIE STANDARD: Sunt filmele care depăşesc lungimea de 1900 metri sau 70
minute de proiecţie. În general durata unui film de lung metraj este între 2400 m şi 2900 m
la formatul normal de 35 mm, deci unei durate de 1 1/2 la 1 3/4 ore, caracteristică filmelor
de ficţiune.

SURSA DEFINITIE: http://ro.wikipedia.org/wiki/Clasificarea_filmelor

NOTA BENE: În general durata unui film de lung metraj este între 2400 m şi 2900 m la
formatul normal de 35 mm, deci unei durate de 1 1/2 la 1 3/4 ore, caracteristică filmelor de
ficţiune.

CORESPONDENT EN: Feature Film

CATEGORIE GRAMATICALA: Substantiv Compus

CONCEPT GENERIC: Spectacol

HIPERONIM: Film

HIPONIM: Film Istoric

ANTONIM: Scurt-metraj

CONTEXT: YouTube va difuza filme de lung metraj care vor putea fi copiate gratuit.
Deocamdată canalul de filme de lung metraj va fi văzut doar în Statele Unite, dar după
rezolvarea problemelor legale se va extinde în toată lumea. Din punct de vedere al
câştigurilor din publicitate afacerea este gigantică, pentru că e vorba, lunar, de aproape
300 de milioane de vizitatori.

SURSA CONTEXT: http://www.realitatea.net/youtube-va-difuza-filme-de-lung-metraj-care-

vor-putea-fi-copiate-gratuit_389401.html

CONTEXT: Premieră de gală, la Teatrul Naţional din Bucureşti. Horaţiu Mălăele şi-a
prezentat primul său lung metraj, în calitate de regizor. Filmul "Nunta mută" are pe afiş
nume precum Victor Rebengiuc, Tamara Buciuceanu Botez şi Dan Condurache, iar de

130
vineri va fi în cinematografe.

SURSA CONTEXT: http://www.antena3.ro/stiri/cultura/nunta-muta-primul-lung-metraj-al-

lui-malaele-aplaudat-indelung-la-tnb_58036.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Lung-metraj de ficţiune Since 1971, the country with the highest feature
output has been India.

STATUTUL DESEMNARII: Oficial

FILM CREW
131
ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: All of those involved in the technical production of a film who
are not actual performers .

DEFINITION SOURCE: www.imdb.com

NOTA BENE: A group of people hired by a production company for the purpose of
producing a film or motion picture. Crew are also separate from producers, those who own
a portion of either the film company or the film's intellectual property rights. A film crew is
divided into different departments, each of which specializes in a specific aspect of the
production ( camera crew, special efects crew, electric crew etc. )

RO CORRESPONDANT: Echipa de filmare

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Organisation

HYPERONYM: Social unit, Unit

HYPONYM: Ground crew, Stage crew

SYNONYM: Gang, Work party

VARIANT: Crew

CONTEXT: Pulling off a show like "Deadliest Catch" is no pleasure cruise. The entire crew
usually arrives about a week before fishing season begins, most times even beating the
boats to Dutch Harbor. During this time, the film crew does any lead prep that it can --
checking and rigging cameras, taking inventory of tape stock and making sure everyone is
up to speed on its safety training and gear. The boats have at least four remote cameras
attached to various parts of the vessel, so when they arrive, it's a mad scramble to get
onboard and start rigging. Each two-man camera/producer team is responsible for its own
footage, so a friendly competition has evolved around who can dream up the most
extreme camera rig and snag the best shots.

CONTEXT SOURCE: http://entertainment.howstuffworks.com/deadliest-catch5.htm

CONTEXT: A film crew working on behalf of the Nashville Film Festival was on the
Tusculum College campus this week taking footage of the people and places that relate
the history of the annual event.

CONTEXT SOURCE: http://www2.tusculum.edu/news/?p=358

USE AREA/ FIELD: Cinematography. Television

132
COMMENTARY: A film crew is very much like a family, or becomes one considering the
long working days and over-all extended periods. Some directors become attached to
specific crews and so they bring them along on as many of their projects as possible.
The crew call referes to the time a crew needs to be on set the following shooting day.

DESIGNATION STATUS: Official

ECHIPĂ DE FILMARE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica Filmului de la A la Z, Alexandru Marin, 1979

DEFINITIE STANDARD: Toate persoanele ce lucreaza in domeniul tehnic, implicate in

realizarea unui film.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Tot din echipa de filmare, dar mentinuti in asteptate sunt tâmplari, pictori,
cataratori etc. Convocarea echipei tehnice la locul de filmare se numeste „crew call”, fiind
un termen imprumutat din engleza.

CORESPONDENT EN: Film crew

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Organizatie

HIPERONIM: Grup social

HIPONIM: Echipa de camera, Echipa tehnica

VARIANTA: Echipa

CONTEXT: Echipa de filmare a regizorului Casey Affleck, care-i este si cumnat si care
pregateste un documentar despre cel care a renuntat la actorie in urma cu cateva luni, a
intarziat la repetitiile pe care Phoenix le facea. "Il astepta pe Affleck, iar cand echipa a
ajuns mai tarziu, Joaquin si-a iesit din minti", a declarat o sursa pentru New York Post. Se
pare ca Phoenix a tipat la echipa: "Multumesc pentru ca ati intarziat si a distrus totul",
dupa care a aruncat cu un CD pe jos si a iesit furios, mai spune sursa. Dupa cinci minute,
proaspatul cantaret de 34 de ani a revenit si s-a comportat ca si cum nimic nu s-ar fi
intamplat.

SURSA CONTEXT: http://www.stiri24h.ro/index.php?

option=com_content&view=article&id=813:fite-joaquin-phoenix-scandal-cu-echipa-de-

133
filmare-a-lui-affleck&catid=35:stiri&Itemid=2

CONTEXT: Cîntăreaţa americană s-a purtat din nou ciudat şi şi-a lăsat baltă echipa de
filmare a noului ei videoclip, formată numai dintr-o sută de oameni, pentru a merge de
două ori la şedinţe de masaj şi pentru că susţinea că nu se poate concentra.

SURSA CONTEXT:
http://www.telegrafonline.ro/1185742800/articol/32273/britney_spears_sia_lasat_balta_ech
ipa_de_filmare.html

ARIE DE UTILIZARE: Cinematografie, Television

COMENTARIU: Echipele sunt subcategorizate de regula in departamente cum ar fi echipa

de filmare efectiva, de lumina si de sunet.

STATUTUL DESEMNARII: Oficial

134
 FIRST ASSISTANT DIRECTOR

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The First Assistant Director (AD) is the Director's right hand
person, taking responsibility for a number of important practicalities so that the Director is
free to concentrate on the creative process.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: During pre-production, First ADs break down the script into a shot-by-shot
storyboard, and work with the Director to determine the shoot order, and how long each
scene will take to film. They then draw up the overall shooting schedule (a timetable for the
filming period). Once the film is in production, Firsts are in charge of making sure that
every aspect of the shoot keeps to this schedule.

RO CORRESPONDANT: Regizor Secund

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Individual

HYPERONYM: Worker

HYPONYM: Chief assistant, Coadjutant, Actor's assistant

SYNONYM: Floor Manager

VARIANT: 1st AD, First, AD, First AD

ABBREVIATION: AD

CONTEXT: No formal qualifications are required to become a First Assistant Director.

Extensive industry experience gained through working on set or on location is the key
route to develop the necessary skills.Most First ADs start as Runners, before progressing
through the other Assistant Director roles (Third Assistant Director and Second Assistant
Director). This route may take a number of years.

CONTEXT SOURCE: http://www.skillset.org/film/jobs/direction/article_3885_1.asp

CONTEXT: When the director and production assistant are sitting in the studio gallery or
outside broadcast vehicle, they cannot speak directly to the crew, performers and
broadcasters. They use headphones and microphones to give instructions to the first
assistant director who passes information to the relevant people.

CONTEXT SOURCE:

135
http://www.connexions-direct.com/jobs4u/index.cfmpid=57&catalogueContentID=497&rend
er=detailedArticle

USE AREA/ FIELD: Cinematography

COMMENTARY: In France and in Italy, the 1st AD is the disciple of the „maestro”(artist in
charge). He's here to help and learn in order to become a director, whereas in The States,
a First is in charge of the logistics and the organizing and safety requirements on set.
Historically the role of an assistant to the director was a stepping stone to directing work;
Alfred Hitchcock was an AD, as was James McTeigue. This transition into film directing is
no longer common in feature films, but remains an avenue for television work, particularly
in Australia and Britain. It is more common now for ADs to transition to production
management and producer roles than to directing. The role of AD has also expanded to
become a separate technical profession.

DESIGNATION STATUS: Official

REGIZOR SECUND

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- Lucian Pricop

DEFINITIE: El face legătura dintre regizor şi directorul de producţie, este responsabil cu

organizarea programului de filmare şi se asigură că echipa,actorii şi echipamentul
necesar pe platou sunt acolo unde trebuie să fie.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Regizorul secund menţine de asemenea ordinea pe

platou şi poate coordona sau regiza scenele cu figuraţia şi mulţimea.

CORESPONDENT EN: First assitant director

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Individ

HIPERONIM: Muncitor

HIPONIM: Asistent personal, Adjutant

VARIANTA: Asistent de regie, Prim asistent, Primul asistent al regizorului

CONDITIE RESTRICTIVA: Din dorinta de a facilita procesul de productie, se utilizeaza din

ce in ce mai des „first” in loc de „regizor secund”

136
CONTEXT: Cu 1993, a început o nouă etapă a definitivării lui Theodor Halacu-Nicon
ca artist. a fost regizor secund pentru filmul de lung metraj “Nostradamus” în regia lui
Roger Christian, una dintre primele producţii străine filmate în România, iar doi ani mai
târziu devenea scenarist la Alexander Motion Pictures of Netherlands, Mayflower Films
England, şi regizor pentru divizia FILMNET Europe din Cipru.

SURSA CONTEXT: http://ro.wikipedia.org/wiki/Theodor_Halacu-Nicon

CONTEXT: Regizorul secund merge să dea un telefon. Se întoarce şi, cu o voce

neschimbată, ne spune că programul pentru ziua următoare s-a schimbat. Îl întrebăm de
ce şi el ne minte. Nu ar trebui să spună minciuni; suntem prieteni din timpul facultăţii. Îl
cunosc de când aveam 18 ani. Îl întreb ce s-a întâmplat. Ne spune că maşina care trebuia
să apară în scena din ziua următoare, maşină pe care deja o folosisem în mai multe scene
fusese vândută. Maşina era o adunătură ieftină de fier vechi care ar fi putut fi condusă
numai de un nepăsător ca Jacobo, personajul principal din film. Unul dintre tehnicienii de
sunet întreabă: "Cine ar cumpăra maşina aia?" Regizorul secund ia o gură de bere şi îi
răspunde: "Cei de la fier vechi".

SURSA CONTEXT: http://agenda.liternet.ro/articol/3027/Distribuitor-Transilvania-Film/

Whiskysinguratate-si-umor.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Regizorul secund anunţă „Linişte pe platou!” pentru a semnaliza echipa că

filmarea urmează să înceapă şi „Porneşte aparatul!”, care reprezintă un semn pentru
aparatul de filmat şi banda de sunet să înceapă înregistrarea. Regizorul secund stă
totdeauna lângă aparatul de filmat pe perioada producţiei; el este persoana care preia
toate informaţiile posibile de la echipă şi le transmite tuturor celor interesaţi, în aşa fel încât
producţia să se desfăşoare în cele mai bune condiţii. Capacitatea de acumulare a
informaţiilor trebuie să fie una din caracteristicile principale ale acestei funcţii. Dacă
regizorul secund părăseşte platoul pentru câteva minute, trebuie să-l lase în locul său pe
cel de-al doilea asistent al regizorului, în aşa fel încât oricare membru al echipei să poate
informa pe cineva în cazul apariţiei unei probleme.

STATUTUL DESEMNARII: Oficial

137
 FLASHBACK

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A scene that breaks the chronological continuity of the main
narrative by depicting events which happened in the past.

DEFINITION SOURCE: http://www.filmsite.org/filmterms9.html

NOTA BENE: It is also a filmic technique that alters the natural order of the narrative; a
flashback may often be the entire film. The flashbacked story that provides background on
action and events is called a backstory.

RO CORRESPONDANT: Flashback- One to one correspondence

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Section

HYPERONYM: Transition

HYPONYM: Passage

SYNONYM: Analepsis

PARTIAL SYNONYM: Backstory

ANTONYM: Flash-forward

CONTEXT: The film premiered at the 1984 Cannes Film Festival in its original running time
of 229 minutes (3 hours 49 minutes). However, it was released in the United States in a
heavily edited and truncated version almost ninety minutes shorter than the original
version released in Europe, against Leone's wishes. The short version eliminates the
elaborate flashback structure of the film, instead placing all of the scenes in chronological
order.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Once_Upon_a_Time_in_America

CONTEXT: His condition causes him to have no short-term memory at all, not even a
conversation he had 10 minutes ago. What may look like flashback after flashback
throughout the film is actually a flashback of a flash forward…

CONTEXT SOURCE: http://www.ez-entertainment.net/zoneseye/mementoview.htm

138
USE AREA/ FIELD: Cinematography, Literature

COMMENTARY: Flashbacks are often used to recount events that happened prior to the
story’s primary sequence of events or to fill in crucial backstory. Character origin
flashbacks specifically refers to flashbacks dealing with key events early in a character's
development (Clark Kent discovering he could fly, for example, or the Elric brothers'
attempt to bring back their mother). The television show Lost is particularly well known for
extensive use of flashbacks in almost every episode. In the opposite direction, a
flashforward (or prolepsis) reveals events that will occur in the future. The technique is
used to create suspense in a story, or develop a character. In literature, internal analepsis
is a flashback to an earlier point in the narrative; external analepsis is a flashback to before
the narrative started.

DESIGNATION STATUS: Official

FLASHBACK

LIMBA VEDETEI: Engleza

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Tehnică de filmare care alterează cursul firesc al povestirii

introducând amintiri din trecut, întâmplări care s-au produs înaintea prezentului.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Termenul este un imprumut total din limba engleza. Nu are traducere in
limba romana, fiind folosit ca atare. Evenimentele intamplate inaintea actiunii principale au
rolul de a furniza spectatorilor informatii in plus despre fundalul povestii. Tehnica
flashback-ului poate fi atat de lunga sau scurta cat se potriveste subiectului.

CORESPONDENT EN: Flashback

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Subdivizie

HIPERONIM: Tranzitie

HIPONIM: Pasaj

VARIANTA: Flash

ANTONIM: Flash-forward

139
CONTEXT: În sfârşit, mai este descrierea Cinei de pe urmă printr-o serie de flashbackuri
împletite cu acţiunea filmului. Zăcând pe un paviment de piatră udat de sânge după
biciuire, ochii lui Cristos privesc spre picioarele stropite de sânge ale unuia dintre soldaţi,
şi filmul se întoarce, în mod semnificativ, la spălarea picioarelor discipolilor la Cina de pe
urmă. Asemenea flashbackuri din patimă şi răstignire ne duc la frângerea pâinii: publicul,
prin ochii lui Cristos, îl vede spunând "Acesta este trupul meu" şi "Acesta este sângele
meu". Semnificaţia jertfei şi deci a Euharistiei Calvarului este descrisă prin aceste
flashbackuri permanente.

SURSA CONTEXT: http://www.catholica.ro/stiri/show.asp?id=7394&lang=r

CONTEXT: Cel mai interesant lucru in Lost, o caracteristica ce probabil a facut serialul
faimos, este flashbackul care face personajele palpabile si le da o viata inainte de
momentul actual. Spre deosebire de celelalte seriale ce au flashbackuri ocazinale si
calatorii in trecutul personajelor din cand in cand, Lost este un serial ce te va duce episod
de episod, in trecutul unui personaj, ba mai mult, se produc legaturi intre povestile din
trecutul personajelor si momentele actuale sau posibile. Este un adevarat labirint de o
complexitate si un misticism aparte ce te leaga tot mai puternic de acest serial.

SURSA CONTEXT: http://tezeu.wordpress.com/2008/02/01/s-a-gasit-lost/

ARIE DE UTILIZARE: Cinematografie, Literatura

COMENTARIU: Flashbackul in film poate fi generat obiectiv, din dorinta realizatorului,

pentru a clarifica sau repeta elemente cheie alea naratiuniii, sau subiectiv, din perspectiva
personajului in functie de conditia emotionala sau fizica ( ebrietate)

STATUTUL DESEMNARII: Oficial

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 FOCUS PULLER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The member of a film crew responsible for keeping the
camera's focus at the proper position during a shoot. This typically requires pulling the
focus with a follow focus device during the take, to compensate for camera and/or subject
movement.

DEFINITION SOURCE: http://en.wikipedia.org/wiki/Focus_puller

NOTA BENE: This requires intimate knowledge and experience with the optical principle of
depth of field, which the focus puller must learn to exploit to his or her advantage.

RO CORRESPONDANT: Şarfeur

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Camera crew

HYPERONYM: Camera Assistant

HYPONYM: Clapper Loader

SYNONYM: First assistant camera

ABBREVIATION: 1st AC

CONTEXT: The actors hit marks and the focus puller has numbers marked on tape on the
lens ((#1, 2 3) and follows those numbers as the actors hit those marks on the floor. Other
times the dolly hits certain points and the focus puller reaches those marks and adjust the
focus accordingly.

CONTEXT SOURCE: http://palimpsest.stanford.edu/byform/mailing-lists/amia-l/2009/01/

msg00102.html

CONTEXT: The focus puller is also responsible for maintaining the camera including
keeping the lens and film gate clean during filming. They are also responsible for placing
filters in the matte box in front of the lens and for being aware of lens flares.

CONTEXT SOURCE: http://www.moviestaff.com/directory/movie_crew/focus_puller.htm

141
USE AREA/ FIELD: Cinematography

COMMENTARY: In extreme circumstances the depth of field may sometimes be very

small, as little as 1/4 or 1/8th of an inch (3–6 mm). Since 1st ACs do not look through the
camera (that is the job of the camera operator) and thus cannot see the results of their
focusing in real-time, this job is considered to be extremely technically difficult.
Professional 1st ACs have many tricks for pulling focus in difficult situations or when
accurate measurement is impossible. Often, before a scene is even rehearsed or
established, the 1st AC will take surveying measurements of the general environment in
order to have a good idea of the distance between reference points, such as patterns on
the floor or walls, furniture, and whatever else might be around. These reference
measurements can be used to quickly establish rough distances between the camera and
the subject in chaotic shooting circumstances when it is impossible to accurately measure
the distance.

DESIGNATION STATUS: Official

ŞARFEUR

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Membru al compartimentului de cameră (echipei de cameră)

avînd ca atribuţie majoră asigurarea clarităţii imaginii cinematografice.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Postul de sarfeur necesita pregatire temeinica in ceea ce priveste

obiectivele de filmare si manevrarea lor pentru a stabili adancimi de camp potrivite fiecarui
cadru. Din germ.: scharf.

CORESPONDENT EN: Focus puller

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Departamentul camera

HIPERONIM: Asistent camera

HIPONIM: Asistent clacheta

SINONIM: Mecanic de cameră, Prim Asistent de cameră

CONTEXT: O chestie interesanta la filmele HD e ca acum apare clar (si uneori enervant)

142
care e focusul camerei cu care se filmeaza (la SD nu se vedea asta), in sensul ca ai blur la
obiectele din afara razei de focalizare. Cu focusul se vede orice abatere si cel mai urit este
ca sarfeurul mai da gres chiar si la filme cu bugete impresionante.

SURSA CONTEXT: http://forum.computergames.ro/54-digital-home-video/314250-pc-

redare-materiale-full-hd/page-9.html

CONTEXT: De fapt, cariera cinematografică a britanicului se poate împărţi, perfect

matematic (şi perfect ironic, dacă ne gândim la spiritul rebel şi aplecarea spre de-
construcţii) pe decenii, cinci la număr, cum nu se poate mai diferite (tematic, valoric) şi
înspăimântător de inegale. În anii '50, Roeg (nota bene, fără să calce vreodată la şcoala
de film!) a trecut de la asistent de montaj la asistent de cameră, şarfeur sau operator la
echipa secundă pentru titluri mai mult sau mai puţin faimoase: Calling Bulldog Drumond
(1951), Bhowani Junction (1956), Tarzan's Greatest Adventure (1959).

SURSA CONTEXT:
http://agenda.liternet.ro/articol/4899/Andrei-Cretulescu/KinosseurSpleen-and-IdealNicolas-
Roeg.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Inaintea stabilirii unui cadru si repetarii unei scene, sarfeurul este cel care
masoara distantele dintre obiectele si persoanele ce vor intra in cadru si obiectivul camerei
de filmat pentru a intelege exact ce schimbari de focus are de facut.

STATUTUL DESEMNARII: Oficial

143
 FOLEY ARTIST

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: http://www.jobmonkey.com

STANDARD DEFINITION: The engineer performing art of recreating incidental sound

effects (such as footsteps) in synchronization with the visual component of a movie.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term „foley” comes from the early practitioner Jack Foley. Foley artists
sometimes use bizarre objects and methods to achieve sound effects, e.g. snapping celery
to mimic bones being broken. The sounds are often exaggerated for extra effect - fight
sequences are almost always accompanied by loud foley added thuds and slaps.

RO CORRESPONDANT: Zgomotist

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Sound

HYPERONYM: Recording

HYPONYM: Soundman

PARTIAL SYNONYM: Sound engineer

CONTEXT: Sometimes (especially in the case of cartoons, many Italian films, and almost
all Bollywood films) there is no sound recorded on-location, and all the sounds need to be
added by the foley artist and sound designer, and dubber. The Foley artist may also accent
existing sounds to make them more effective—enhancing the sounds of a fistfight may
require thumping watermelons or cracking bamboo.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Foley_artist

CONTEXT: Many Foley artists take pride in devising their own sound effects apparatuses,
often using simple, commonly found materials. Some making-of featurettes show Foley
artists at work. The term Foley artist is named after Jack Foley, one of the earliest and
best-known Hollywood practitioners of the art. Foley began his career in the film industry

144
as a stand-in and screenwriter during the silent era, and later helped Universal make the
transition from silent movies to talkies.

CONTEXT SOURCE: http://www.jobmonkey.com/filmmusic/movie_industry_jobs.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Possibly the most unique job within the film industry. The term Foley,
other than the name of this art form's creator, now actually refers to movement sounds
within a film that are human or animal influenced; such as grabbing a doorknob, pouring
liquid into a glass, and footsteps. During the original movie shoot, even though there are
Production Mixers on set capturing the actual audio, many of these sounds are so subtle
that they get lost or are not dramatic enough. A Foley Artist actually is in charge of
recreating these sounds in a live performance setting. While watching the film, they will
record on a Foley stage, creating live sound effects with multiple props.

DESIGNATION STATUS: Official

ZGOMOTIST

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Ilustrator de zgomote pentru postproductia unui film.

SURSA DEFINITIE: Tehnica filmului de la A la Z, Alexandru Marin, 1979

NOTA BENE: Inregistrarea sunetelor se face pe un platou distinct pentru realizarea

zgomotelor cu ajutorul tehncii cat si a obiectelor neconvientionale: ciocane, legme dure,
pungi etc.

CORESPONDENT EN: Foley artist

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Sunet

HIPERONIM: Inregistrare

HIPONIM: Sunetist

SINONIM PARTIAL: Inginer de sunet, Specialist de efecte sonore

CONTEXT: Foarte multi ingineri de sunet si zgomotisti cu care studioul Animafilm a

colaborat, aveau experienta in filmul jucat unde puneau efecte de sunet ici - colo si in

145
majoritatea lor fiind zgomote reale, iar cand au dat peste acest gen cinematografic au
trebuit sa se confrunte cu o cerinta specifica a genului si anume un alt gen de efecte mai
putin reale si de cele mai multe folosite ca un contra punct pentru a reliefa mai puternic un
gag iar onomatopeele si interjectiile utilizate pe post de dialog trebuiau prelucrate cu
mijloace specifice, filtre, sintetizatoare, tempofoane si multe alte dispozitive.

SURSA CONTEXT: http://victor.tfm.ro/index.php?s=inginer+de+sunet

CONTEXT: Scopul evenimentului, formulat de catre Moise Kissous, unul dintre

organizatori, a fost acela de a “inlatura barierele dintre public si oamenii care fac film”, iar
printre surprizele de care au avut parte curiosii s-a numarat demonstratia facuta de Jean-
Pierre Lelong, unul dintre cei mai mari (zgomotisti) specialisti in efecte sonore din lume,
care a recreat, special pentru publicul prezent, sunetul voluptuos al mersului Monicai
Bellucci in “Malena”, folosindu-se doar de o cizma veche. In plus, expozitia a cuprins si
decorurile pe care designera Anne Seibel le-a creat pentru cel mai recent film al Sofiei
Coppola, Marie Antoinette.

SURSA CONTEXT: http://www.cinemarx.ro/stiri-cinema/lumea-din-spatele-camerelor-de-

filmat/

ARIE DE UTILIZARE: Cinematografie, Teatru radiofonic

COMENTARIU: Relationat cu sunetul propriu-zis, zgomotul de fundal adauga atmosfera si

realism unei anumite scene. Acesta poate fi inregistrat in acelasi timp in care este filmata
productia, sau poate fi adaugat la montaj. Acest procedeu se numeste postsincron de
zgomote si este condus de asa numitul zgomotist.

STATUTUL DESEMNARII: Acceptat

146
 GAFFER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Studying Film, Nathan Abrams, Ian Bell and Jan Udris-, 2001

STANDARD DEFINITION: The head of the electrical department, responsible for the
design and execution of the lighting plan for a production.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: In 16th Century English, the term "gaffer" denoted a man who was the head
of any organized group of laborers.

RO CORRESPONDANT: Maistru de lumini

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Profession

HYPERONYM: Electrician, Linesman

SYNONYM: Chief Lighting Technician

CONTEXT: While scouting, Daviau realized how important having the right TORCHLIGHT
was going to be in very large interiors. His gaffers took charge of that situation by
assembling some experts who helped design a torchlight with a dimmer control and built-in
flicker circuit.

CONTEXT SOURCE: InCamera Magazine, Coverstory, June, 2004.

CONTEXT: As a Gaffer I work closely with the director of photography on many projects in
film and video. Based in Brighton and working in London and beyond. My various skills,
experience in Lighting always prove essential on the film set. I have a professional attitude
to my work and I'm very organised.

CONTEXT SOURCE: http://www.thegaffer.co.uk/

147
USE AREA/ FIELD: Cinematography, Theatre, Photography

COMMENTARY: Early films used mostly natural light, which stagehands controlled with
large tent cloths using long poles called gaffs (stagehands were often beached sailors or
longshoremen, and a gaff is a type of boom on a sailing ship).

DESIGNATION STATUS: Official

MAISTRU DE LUMINI

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica fotografierii şi aparatura de filmare de Paul Alexandrescu, Alexandru

Petculescu, Iuliu Popescu, 1973

DEFINITIE STANDARD: Conducătorul departamentului electric; este

responsabil de executarea iluminării descrise de directorul de imagine.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Gaffer - literal înseamnă şef de echipă, conducătorul unei activităţi anume;
termenul s-a întrebuinţat mai întâi la departamentul de lumină, unde electricienii foloseau,
pentru a schimba filtrele de la proiectoarele înalte, un fel de prăjină care
avea în capăt un cârlig şi care semnăna cu un harpon (gaff – în limba engleză).

CORESPONDENT EN: Gaffer

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Profesie

HIPERONIM: Electrician

SINONIM: Electrician- Sef

CONTEXT: Nea Craiu lucreaza din 1982 ca maistru de lumini la Teatrul 'George Ciprian'
din Buzau. El a acceptat sa aprinda in fata noastra o lampa electrica dupa ce, in prealabil,
un coleg de-al lui a introdus cu patentul doua cuie in priza. 'Omul-electric' le-a tinut in
schimb cu propriile maini, fara nici o protectie. Iar lampa s-a aprins.

SURSA CONTEXT: http://stiri.rol.ro/content/view/127807/2/

CONTEXT: Maistrul de sunet si lumini (tipul cu cablurile), amplasa langa aragaz un

microfon, pentru ca publicul din sala sa poata auzi incantatiile savante de energizare,
rostite de marele guru.

148
SURSA CONTEXT: http://www.romanialibera.com/articole/articol.php?
step=articol&id=6937

ARIE DE UTILIZARE: Cinematografie,Teatru, Fotografie

COMENTARIU: Poate avea un asistent (best boy electric).

STATUTUL DESEMNARII: Oficial

GENRE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Film as Art, Rudolf Arnheim University of California Press, 1957

STANDARD DEFINITION: Refers to a class or type of film that shares common,

predictable or distinctive artistic and thematic elements or iconography (e.g., bad guys in
Westerns wear black hats), narrative content, plot, and subject matter, mood and milieu (or
setting) or characters.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: originally a French word meaning "kind", "sort" or "type"

RO CORRESPONDANT: Gen

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Culture

HYPERONYM: Art

HYPONYM: Folk Art, Genre-painiting

SYNONYM: B-Movie

CONTEXT: Although film noir also highlights the world of the nightmare, it tends to rely
less on movement and pace. Indeed, film noir tends to be even more stylized and more
abstract than horror genre. Each genre relies on visual composition and pace in different
ways. As a result, audiences have a particular emotional expectations when viewing a film
from a particular genre.

CONTEXT SOURCE: http://filmsound.org/articles/velvet.htm

CONTEXT: I once argued with a professor of musicology about the validity of movie

149
soundtracks and their contribution to classical music. I think that some of the best and
most original classical music, as well as pop music compilations being made today, come
from movie scores. And some of the best music comes from genre films. If Beethoven and
Mozart were alive today they would be doing movie soundtracks.

CONTEXT SOURCE: http://www.zone-sf.com/top10scores.html

USE AREA/ FIELD: Cinematography, Literature, Theatre, Muzic

COMMENTARY: Some of the most popular genres are western, film noir, sci-fi, peplum,
heroic fantasy, slasher, survival, horror, thriller. Even if the genre films are made for a
certain kind of audience, like the "core audience" (abb. of hardcore audience) for horror
movie, a more wider audience can watch them and appreciate them as well.

DESIGNATION STATUS: Official

GEN

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Dictionarul Explicativ al Limbii Romane, Editia a-II-a

DEFINITIE STANDARD: Categorie distinctă de film cum ar fi aventură, dragoste, comedie,

comedie
romantică, western, science – fiction, horror/fantasy sau murder/mystery/western/thriller,
musical etc;

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Termenul mai desemneaza o clasa gramaticala a substantivelor.

CORESPONDENT EN: Genre

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Clasa

HIPERONIM: Tip, Varietare, Forma

SINONIM: Categorie

CONTEXT: Dacã un producãtor ti-ar spune cã vrea sã te facã vedetã de cinema si ti-ar
propune sã joci într-un film, ce gen ai prefera sã fie? Actiune, comedie, horror? Sau nici nu
ai accepta pentru cã nu crezi cã ai fi în stare?

SURSA CONTEXT: http://basarabia.discutfree.com/lumea-filmului-f8/in-ce-gen-de-film-i-ar-

placea-sa-joci-t443.htm

150
CONTEXT: Filme de referinta: Fata in Fata, Greu de ucis, La limita extrema.
Filmele de actiune contin unul sau mai multi eroi ce se avanta intr-o serie de provocari,
care le exploateaza la maxim trasaturile fizice si prezinta lupte sau urmariri frenetice.
Povestea sau dezvoltarea personajului sunt in general pe un plan secundar, fiind umbrite
de explozii, batai, schimburi de focuri sau urmariri de masini. Acest gen de filme se bucura
de un succes mare la box-office.

SURSA CONTEXT: http://www.cinemarx.ro/info/genuri/

ARIE DE UTILIZARE: Cinematografie, Teatru, Muzica, Literatura

COMENTARIU: Unele filme sunt realizate in primul rand pentru livrarea de senzatii, pe
cand filmele de gen sunt lansate pentru a fi traite ca experiente care sa te ridice din scaun
si sa te ademeneasca dincolo de ecran, alaturi de protagonisti.

STATUTUL DESEMNARII: Oficial

151
 GRIP

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The crew member responsible for setting up dolly tracks and
camera cranes, erecting scaffolding, moving props or scenery, or the adjustment or
maintenance of any other production equipment on the set - a physically demanding job.

DEFINITION SOURCE: The Complete Film Dictionary, Ira Konigsber, New York

NOTA BENE: In the USA, a grip is a skilled person responsible for the set up, adjustment
and maintenance of production equipment on the set. Their typical duties involve camera
movement, lighting refinement, and mechanical rigging. In the UK, grips work exclusively
with equipment that the camera is mounted on.
The term can also define a Verb, or represent another meaning of the Noun, that of
grasping onto something.

RO CORRESPONDANT: Masinist

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Skill

HYPERONYM: Skilled worker, Trained worker

SYNONYM/ PARTIAL SYNONYM/ VARIANT:

ANTONYM: Swing Gang

CONTEXT: Construction Grip work is done before and after the production of actual
photography. Before photography begins, Grips help by unloading the parts
of the sets that come from storage and placing them for the carpenters or

152
propmakers to revamp. Whenever the sets need to be reassembled from
storage, it is done by Grips.

CONTEXT SOURCE: http://www.calmis.cahwnet.gov/file/occguide/Grip.htm

CONTEXT: These guys work closely with the Electric Department, which is responsible for
the actual placement of the lighting fixtures. Since film departments are insanely territorial,
the Grips are not allowed to actually touch any lights without Electricians exploding into a
frothing ball of hissy fit. Instead, it is the Grip’s job to set up all of the stuff that goes around
the lights in order to shape, color, and diffuse the output based on the Cinematographer’s
wishes.

CONTEXT SOURCE: http://www.omnicog.com/2008/10/09/roll-camera-the-grip-

department/

USE AREA/ FIELD: Cinematography, Television, Theatre

COMMENTARY: The key grip is the head grip who coordinates all of the other grips in the
crew, and receives direction from the gaffer or head lighting technician; the key grip's right-
hand assistant is known as the best boy grip.

DESIGNATION STATUS: Official

MAŞINIST

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Persoana care ii coordoneaza pe cei care se ocupa cu

macaralele, scripetii, carturile de pe platoul de filmare. El asculta ordinele directorului de
imagine si realizeaza efecte de umbra, folosind macaralele cu camere de filmare
amplasate pe ele.

SURSA DEFINITIE: Tehnica Filmului de la A la Z, Alexandru Marin, 1979

NOTA BENE: Lista activităţilor compartimententului de masinisti diferă de la ţară la ţară şi

în funcţie de amploarea producţiei cinematografice

CORESPONDENT EN: Grip

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Indeletnicire

HIPERONIM: Muncitor calificat

153
SINONIM PARTIAl: Mecanic

CONTEXT: În fiecare episod, o echipă de veterani - cascadori, tehnicieni şi maşinişti - pun

un începător să facă o cascadorie imposibilă. De la căderi de pe zgârie-nori până la
oameni cuprinşi de flăcări sau maşini care se rostogolesc după o coliziune, programul
prezintă ingredientele necesare pentru pregătirea unora dintre cele mai spectaculoase
cascadorii din filme.

SURSA CONTEXT: http://tv.rol.ro/programe-tv/Discovery_Science/86979/Cascadorii_ca-

n_filme.htm

CONTEXT: Timp de 2 zile si o noapte, cat au durat filmarile, echipa artistica, cea de
productie (regizor: Radu Barbulescu, director de imagine: Emanoil Sava, scenograf: Dana
Istrate) si echipa tehnica (electricieni, tehnicieni, masinisti) au fost supusi unui efort de
rezistenta a organismului la intemperii.

SURSA CONTEXT: http://www.muzicabuna.ro/stiri/krypton-a-filmat-la-ice-hotel-balea-

lac.html

ARIE DE UTILIZARE: Cinematografie, Televiziune, Teatru

COMENTARIU: Şeful echipei se numeşte „maşinist-şef” (key grip), care poate avea un
asistent (best boy grip). Uneori echipa de maşinişti se diferenţiază în funcţie de activitate:
maşinişti de cameră (camera grip) şi de iluminare (lighting grip).

STATUTUL DESEMNARII: Oficial

154
 LOCATION MANAGER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Careers For Film Buffs an Other Hollywood Types, Jaq Greenspoon-, U.S.A.
2003

STANDARD DEFINITION: A person who manages various aspects of filming a movie on

location, such as arranging with authorities for permission to shoot in specific places.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The Location Manager is not based on set and therefore has an Assistant
Location Manager who represents the department and manages the department's
interests on set where the Location Manager's permission is not required or where
elements of the Location Managers job has been delegated the Assistant Location
Manager to oversee.

RO CORRESPONDANT: Manager de locatii

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Locations

HYPERONYM: Expert

HYPONYM: Researcher

PARTIAL SYNONYM: Location scout, Scout

CONTEXT: A good Location Manager is well poised and able to think fast on his feet as
they are constantly moving, usually preceding production to a location and overseeing final

155
strike and wrap. They are the first and last people the public sees that represent the
production and are responsible for ensuring that the location is returned to the condition in
which it was received.

CONTEXT SOURCE: http://en.wikipedia.org/wiki/Location_manager

CONTEXT: Many location managers still use film, despite the rest of the world going
digital, and that's because a good film camera is an uncomplicated piece of kit which will
generally always deliver the goods. The down-side of film is that you don't know what
you've got until it comes back from the lab - even more of a reason for you to understand
photography, and understand your camera. The down-side of digital is that you may need
a lot of removable memory, a lot of replaceable batteries, and maybe even a lap-top for
storage. If you are starting out as a location scout, take advice: ask your employer how
they would like things done.

CONTEXT SOURCE: http://www.locationworks.com/howto/

USE AREA/ FIELD: Cinematography, Photography.

COMMENTARY: The location manager or locations scout job is also one of the best
positions to benefit off of. The location manager finds locations, sees the owners and
negotiates production costs on his own, being able to split any profits as he wishes.

DESIGNATION STATUS: Official

MANAGER DE LOCAŢII

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Asistentul de producţie care se ocupă de locurile de filmare în

deplasare; este conducătorul departamentului de locaţie (loc de filmare în afara studioului)
şi este responsabil cu prospectarea locurilor de filmare, negocierea închirierii locaţiei,
obţinerea tuturor acordurilor legale şi organizarea detaliilor la locul de filmare inclusiv
parcare, organizarea mesei şi obţinerea permiselor de la poliţie şi pompieri.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Termenul este de obicei inlocuit de echivalentul sau in engleza, atat datorita
usurintei de pronuntare cat noutatii din punct de vedere profesional.

CORESPONDENT EN: Location Manager

CATEGORIE GRAMATICALA: Grup nominal

156
CONCEPT GENERIC: Locatii

HIPERONIM: Specialist

HIPONIM: Explorator.

VARIANTA: Manager de teren

CONTEXT: “Uneori am gasit locatii chiar si de aici”, spune managerul de locatii Angelika
Bäuml, scrutand departarile de pe terasa care ii ofera o vedere panoramica.
Amplasamentul este ideal, deoarece in oras functioneaza nenumarate agentii de
publicitate – clienti principali pentru agentiile de location scouting.

SURSA CONTEXT: http://www.ideideafaceri.ro/index.php?pag=a&aid=404

CONTEXT:Managerul de locatii citeste scenariul, decide ce locatii de filmare sunt

necesare pentru film si incepe sa le caute. El viziteaza diferite locuri si face fotografii pe
care le prezinta ulterior regizorului pentru a stabili impreuna cadrul ideal pentru filmari.
Dupa ce locatiile au fost stabilite, managerul se deplaseaza din nou pentru a face toate
aranjamentele necesare si pentru a obtine toate drepturile asupra acestora

SURSA CONTEXT: http://www.cinemarx.ro/info/echipa/

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: Funcţi de manager de locatii este apărută relativ de curînd în producţia de

film din Romania,sarcinile sale fiind îndeplinite de obicei de compartimentul de producţie al
filmului.

STATUTUL DESEMNARII: Acceptat

157
 MAGIC HOUR

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Film As Art- Rudolf Arnheim University of California Press, 1957

STANDARD DEFINITION: The minutes just around sunset and sunrise, where light levels
change drastically and quickly, lending a warm orange glow to earlier shots, and a clearer
blue in later minutes that allows a crew to shoot night scenes while light still remains.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: In the middle of the day, the bright overhead sun can create too-bright
highlights and dark shadows. The degree to which overexposure will occur will vary as
different types of film and digital cameras have varying dynamic ranges. This harsh lighting
problem is particularly important in portrait photography, where a fill flash is often
necessary to balance lighting across the subject's face or body, filling in strong shadows
that are considered undesirable. However, during the golden hour, such shadows are less
pronounced.

RO CORRESPONDANT: Regim

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Movement of the Sun

HYPERONYM: Sunset, Sundown

HYPONYM: Alpenglow

158
VARIANT: Golden Hour, Twilight

ANTONYM: Blue hour

CONTEXT: The Magic (aka Golden) hour is my personal 'happy hour.' All creatures
venture out to play and simply "be" in the glorious light. It is a peaceful time, a happy time
and, of course, a beautiful time. I find that it's easy to portray the magic hour's beauty but
relatively more difficult to portray its unique emotional essence. It is a time so special that
many people derive from it the will to go forward, to live another day, in spite of life's
weighty and persistent challenges.

CONTEXT SOURCE: http://www.prophotohome.com/forum/photo-critiques/81004-

essence-magic-hour.html

CONTEXT: Still Photographers are often reminded that the best times to shoot are the
"magic hours", the time around dawn and dusk. These are the times when the light is
warm, low and flattering to its subject. Movie directors enjoy the magic hours too but they
have significant constraints such as budget and plot and onerous schedules. It would cost
a fortune to have highly-paid actors and crew waiting around just to shoot their scenes for
one or two hours a day when it might not advance the plot.

CONTEXT SOURCE: http://www.luminous-landscape.com/essays/ten-movies.shtml

USE AREA/ FIELD: Cinematography

COMMENTARY: The magic hour is the optimum time for filming romantic or magical
scenes due to 'warm' and 'soft' lighting conditions.

DESIGNATION STATUS: Official

REGIM

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: Perioada din zi optimă pentru a filma scenele romantice datorită
luminii blânde în culori
galben orange, de 30 de minute, în preajma apusului de soare.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Filmarea in regim este o practica familiara cinematografului romanesc, cu

toate acestea , tendinta este de a folosi imprumutul din engleza, „magic hour”, pentru a o
descrie. Productia cinematografica autohtona este intr-un proces continuu de integrare
europeana prin prezenta numeroaselor echipe straine. Aceste echipe impun de cele mai

159
multe ori tendinta folosirii unei anumite terminologii in detrimentul celei specific romanesti.

CORESPONDENT EN: Magic hour

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Miscari solare

HIPERONIM: Apus, Rasarit

HIPONIM: Amurg

VARIANTA: Magic hour

CONTEXT: La Comana s-a filmat una dintre cele mai dificile secvente - bataia de la final,
in care Doiaru este omorat. Dincolo de faptul ca a implicat efecte speciale, cascade,
coordonarea a 60 de oameni din figuratie, cel mai important factor pentru aceasta
secventa a fost lumina s-a filmat "in regim", iar asta presupune ca lumina naturala sa fie
cea de la trecerea dintre noapte si zi (in iunie, perioada de clar-obscur este seara intre
orele 19 si 20 si dimineata intre 5 si 6).

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=10923&what=article&article_id=17043

CONTEXT: Maria Dinulescu are mai multe motive sa considere aceasta secventa drept
una dintre cele mai grele: "A fost dificil pentru ca o asemenea experienta am avut si in
viata personala, iar acum, practic, retraiam acel moment. Scena cu pricina trebuia filmata
in doua transe: intre 19:00 si 20:00 si 05:00 si 06:00, se filma in regim. in acelasi timp cu
momentul in care Doiaru este omorat, o masina explodeaza impreuna cu un foc de artificii.
A fost o scena foarte grea din punct de vedere tehnic cat si, in ceea ce ma priveste,
emotional si fizic.

SURSA CONTEXT: http://www.cinemagia.ro/movie.php/article&article_id=17043

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Filmarea în acest moment al zilei poartă numele de „filmare în regim”.

STATUTUL DESEMNARII: Oficial

160
 MAKING-OF

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: In cinema, a making-of is a behind the scenes documentary

film look of the production of the show. This is often referred to as the EPK (Electronic
Press Kit) video, due to its main usage as a promotional tool, either concurrent with
theatrical release or as a bonus feature for the film's DVD.

DEFINITION SOURCE: http://en.wikipedia.org/wiki/Making-of

NOTA BENE: The term can be used as an intrasitive verb aswell, without the hyphen, and
followed by a propper or common noun.

RO CORRESPONDANT: Making-of, One-to-one correspondency

GRAMMATICAL CATEGORY: Noun

161
GENERIC CONCEPT: Documentary

HYPERONYM: Report

HYPONYM: Film

PARTIAL SYNONYM: Behind-The-Scenes, Featurette, Bonus- feature

ANTONYM: Feature

CONTEXT: Shorter making of documentaries are often used as a bonus on DVDs, as it

offers more insight into the film, how it was made, and to credit the film crew. Occasionally,
some films have included a "Making of the making-of" as a joke. The making-of is also
often released for TV as a part of the promotion of the film.

CONTEXT SOURCE: American Cinematographer Manual, American Society of

Cinematographers, 7th Edition, U.S.A. 1993

CONTEXT: The making of a CG Mummy: from a decayed mummy, encased in a clay shell,
to vast armies of terracotta soldiers and the risen dead, Digital Domain served up some
gory visual effects for The Mummy: Tomb of the Dragon Emperor.

CONTEXT SOURCE: http://www.digitalartsonline.co.uk/features/index.cfm?featureid=1776

USE AREA/ FIELD: Cinematography, Photography

COMMENTARY: The making-of can be done by a member of the crew or by a real

documentary crew. Most of the times today, unfortunately, studios refuse to pay for the
behind the scenes (which became very popular with the DVD bonuses) during the entire
period of production and rather just send a crew over for 3 days during some of the
important scenes. This crew is in charge of the EPK- electronic press kit - which is a bunch
of itv and behind the scene footage to be used on a DVD and for the promotional
featurette broadcast on Television before the movie release.

DESIGNATION STATUS: Official

MAKING-OF

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza producatorului de film- Lucian Pricop

DEFINITIE STANDARD: Reportaj filmat despre turnarea

unui film, care va servi ca material promoţional în special la televiziune

SURSA DEFINITIE: www.media-desk.ro

162
NOTA BENE: Termenul este un imprumut acceptat ca atare si intrat in circulatia limbajului
cinematografic romanesc, ca si a multor altor tari.

CORESPONDENT EN: Making-of

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Documentar

HIPERONIM: Reportaj

HIPONIM: Filmare

VARIANTA: Filmul filmului, Filmul despre film.

ANTONIM: Film

CONTEXT:Making-of-ul de fata le ofera fanilor jocului eponim sau genului fantasy in

general, ocazia sa priveasca in spatele scenei, asupra procesului de productie a hitului
Dungeons and Dragons.

SURSA CONTEXT: http://www.cinemagia.ro/movie.php?

movie_id=21481&hist=1&wnd=_default

CONTEXT:Pentru cei care o admiră pe Andreea Bălan, pentru cei care au admirat
pictorialul cu ea din FHM Iunie dar şi pentru cei care vor să cadă în admiraţie, iată
filmuleţul de la making-of-ul şedinţei foto cu ea.

SURSA CONTEXT: http://eddie.ro/2008/06/27/making-of-fhm-shooting-andreea-balan/

ARIE DE UTILIZARE: Cinematografie, Fotografie

COMENTARIU: „Filmul filmului” ar putea fi o traducere aproximativa a termenului, in

conditiile in care un making-of a ajuns sa indeplineasca in unele cazuri datele unui film de
sine statator. In cazul unor documentare, making-oful poate sa fie chiar de mai mare
importanta decat filmul dat spre difuzare.

STATUTUL DESEMNARII: Oficial

163
 MARTINI SHOT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The last shot of the day's shoot.

DEFINITION SOURCE: http://en.wikipedia.org/wiki/Martini_Shot

NOTA BENE: It is a Hollywood term that describes the final set-up of the day. According to
Dave Knox, author of the film industry slang guide, "Strike the Baby and Kill the Blond", the
Martini Shot was so named because "the next shot is out of a glass", referring to a post-
wrap drink. There is also the double meaning of 'shot' between the film term and the
drinking term.

RO CORRESPONDANT: Martini

164
GRAMMATICAL CATEGORY: Compound noun

GENERIC CONCEPT: Camera crew

HYPERONYM: Shot

HYPONYM: Abby Singer Shot

SYNONYM/VARIANT: Martini, Last shot

CONTEXT: Band history: The Martini Shot refers to the movie slang for the last shot in a
film or the last shot of the day, Clementi explains. "It's a celebration." The Martini Shot
Band started in 2000, but the current lineup wasn't completed until August 2003.

CONTEXT SOURCE:
http://findarticles.com/p/articles/mi_qn4191/is_20050218/ai_n9779859

CONTEXT: It's the last shot of the day. So named, supposedly, because this was when the
director was stirring his drinks to celebrate the end of the shoot. The "Abby Singer"is the
shot before the Martini shot, named after the AD who invented the "Martini Shot." The last
shot of any picture I've directed we call Martini's "Martini." Thanks Abby. (After that, it's all
downhill, or uphill, depending.)

CONTEXT SOURCE: http://richmartini.blogspot.com/2008/09/bailout-highway-robbery.html

USE AREA/ FIELD: Cinematography

COMMENTARY: There comes a moment around the end of a shooting day when you can
hear one of the Ads announcing the Martini over the radios and you know you're only a
couple of more takes away from Wrap. There seldom is any actual Martini glass waiting for
you to reward any hard efforts, but it still sound pleasant.
Other named shots include: The Abby Singer Shot - The 2nd to last shot (named after an
Assistant Director Abby Singer) and The Marislasis - The 3rd to last shot (named for Elian
Gonzales' aunt)

DESIGNATION STATUS: Accepted

MARTINI

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- Lucian Pricop

DEFINITIE STANDARD: Ultimul cadru al zilei de filmare.

SURSA DEFINITIE: www.media-desk.ro

165
NOTA BENE: Termenul este un imprumut al expresiei de jargon americane „martini shot”

CORESPONDENT EN: Martini shot

CATEGORIE GRAMATICALA: Substantiv propriu

CONCEPT GENERIC: Echipa de camera

HIPERONIM: Cadru, Secventa

SINONIM/ VARIANTA: Ultimul cadru

CONDITIE RESTRICTIVA: Termenul se foloseste in mod deosebit la filmarile cu echipe

straine.

CONTEXT: Productia de filme straine, aproape de Martini: Anul trecut, au fost cheltuiti in
Romania 50 de milioane de dolari pentru serviciile legate de productia de filme. Mirajul
costurilor mici va disparea dupa data aderarii.

SURSA CONTEXT: http://www.9am.ro/stiri-revista-presei/Business/22321/Productia-de-

filme-straine-aproape-de-ultimul-cadru.html

CONTEXT: Cartierul arata lugubru la lumina lunii si a stelelor, intesat de caini vagabonzi
care se iau din cand in cand la cearta printre blocurile din placi de beton, frumoasa
mostenire si mandra ctitorie a epocii etc. etc. E locul ideal pentru secventa noastra, filmata
intr-o duba Iveco ce a fost condusa de un sofer foarte simpatic pe nume Lucian, care cu
ocazia asta a jucat si in film. Ne-am distrat copios, mai ales la martini, la ultimul cadru.

SURSA CONTEXT: http://trei-pazeste.tripod.com/id38.htm

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Ultimul cadru este anuntat in aceasta forma ( Martini) cu o conotaţie

umoristică, tinand cont ca o zi de filmare poate depasi deseori 12 ore si echipa este
dornica macar de sugestia unui moment de relaxare de acest gen.

STATUTUL DESEMNARII: Acceptat

166
 MISE-EN-SCÈNE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: http://www.merriam-webster.com/

STANDARD DEFINITION: All the elements placed (by the director) before the camera and
within the frame of the film, including their visual arrangement and composition; elements
include settings, decor, props, actors, costumes, makeup, lighting, performances, and
character movements and positioning; lengthy, un-cut, unedited and uninterrupted
sequences shot in real-time are often cited as examples of mise-en-scene.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: French term for "staging," or "putting into the scene or shot".

167
RO CORRESPONDANT: Mizanscena

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Arrangement

HYPERONYM: Stage

PARTIAL SYNONYM: Setting, Stage setting

VARIANT: Mise-en-scene

ANTONYM: Montage

CONTEXT: That space, the mise-en-scène, can be unique, closed off by the frame, or
open, providing the illusion of more space around it. In Travelling Players (1975), a film by
the Greek director Theo Angelopoulos, a group of people move into the past by taking a
long walk down a street in one shot; time moves backward as they walk.

CONTEXT SOURCE: http://userpages.umbc.edu/~landon/Local_Information_Files/Mise-

en-Scene.htm

CONTEXT: Mise-en-scène has preoccupied filmmakers in several countries and periods.

German expressionism developed immediately following World War I. In painting, writing,
and filmmaking, expressionism was a mise-en-scène cinema, expressing the
psychological turmoil of the characters in terms of the space inhabited by its characters.

CONTEXT SOURCE: http://www.filmreference.com/encyclopedia/Independent-Film-Road-

Movies/Mise-en-sc-ne-FILMMAKERS-AND-MISE-EN-SC-NE.html

USE AREA/ FIELD: Cinematography, Theatre, Literature

COMMENTARY: The french expression is used as well for the camera work decided by
the director and the art direction considering the way actors will move and interact with
each other and different objects. That part of the mise en scene is called "blocking" a
scene.

DESIGNATION STATUS: Official

MIZANSCENA

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

168
DEFINITIE STANDARD: Mizanscena se refera la jocul actorului in spatiul secventei, in
decorurile locatiei. In functie de ce vrea regizorul sa transmita, in functie de dramatismul
secventei, amplasarea personajelor in scena este importanta pentru contextul dramatic al
filmului.

SURSA DEFINITIE: www.filmmaking.ro

NOTA BENE: Termenul provine din frantuzescul „mise-en-scène”

CORESPONDENT EN: Mise-en-scène

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Aranjare

HIPERONIM: Decor, Scena

SINONIM: Punere in scena

ANTONIM: Montaj

CONTEXT: Sa spunem ca personajul trebuie sa intre intr-o camera si sa se aseze la o

masa.. mai lunga, la care se afla si alte personaje. Putem crea mizanscena in modul cel
mai simplu, trimitand personajul pe drumul cel mai scurt, dinspre intrarea in camera (in
scena), catre scaun.

SURSA CONTEXT: http://filmmaking.ro/2008/08/mizanscena-prelucrarea-scenariului/

CONTEXT: În montarea lui Franco Zeffirelli, am recunoscut şi de această dată încrederea

sa nestrămutată în concepţia tradiţională de mizanscenă, în fixarea cu exactitate a
cadrului de epocă. Este un clasic neclintit, care tratează totul în manieră monumentală, cu
mare forţă de detaliere a decorurilor (pe care el însuşi le semnează) mergând până la o
minuţiozitate ce nu scapă niciunul din amănuntele imaginabile. Costumele (realizatoare
Raimonda Gaetani) sunt frumoase, variate şi desenate cu fantezie.

SURSA CONTEXT: http://www.cimec.ro/Muzica/Cronici/CostinPopa35.htm

ARIE DE UTILIZARE: Cinematografie, Teatru, Literatura

COMENTARIU: Mizanscena poate reprezenta si o caracteristica literara regasita in opere

dramatice, precum cele ale lui Caragiale, care au potentialul de a fi puse in scena.

STATUTUL DESEMNARII: Oficial

169
 MONTAGE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: The Sage's English Dictionary and Thesaurus

STANDARD DEFINITION: A filming technique, editing style, or form of movie collage

consisting of a series of short shots or images that are rapidly put together into a coherent
sequence to create a composite picture, or to suggest meaning or a larger idea.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term is originally French, although it has lost its original sence, that of
„editing”

170
RO CORRESPONDANT: Montaj

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Composition

HYPERONYM: Icon, Image, Paste-up, Picture

HYPONYM: Photomontage

PARTIAL SYNONYM: Collage

ANTONYM: Mise-en-scene

CONTEXT: Jeremy Vineyard argues that there are at least a few recognizable definitions
for the word montage. (1) He claims that at its most literal level montage is simply a series
of images--like cuts in a film. Therefore, every film is an example of montage. One of the
earliest descriptions of montage was put forward by Russian theorist Sergei Eisenstein
who defined montage in broader...

CONTEXT SOURCE: http://www.accessmylibrary.com/coms2/summary_0286-

13777251_ITM

CONTEXT: Hip-hop is uniquely qualified to fulfill the predictions for sound cinema put
forward by Eisenstein, Pudovkin, and Alexandrov. It is linked to the Soviet montage
movement though reliance on musical juxtaposition in the form of sampling, sharing a
common dependence upon rhythm with montage

CONTEXT SOURCE: http://www.blog.high-angle.com/?p=52

USE AREA/ FIELD: Cinematography, Photography, Theatre

COMMENTARY: The montage technique became almost a joke over time. No one is using
montage anymore unless it's for a comic purpose or perhaps in a sport theme movie
(showing off the training part usually).Some other examples are the ambush scene in
Bonnie and Clyde (1967), and the 45 second shower scene in Psycho (1960) - with
between 71-78 camera set-ups for the shooting of the scene and 50 splices (where two
pieces of film are joined).

DESIGNATION STATUS: Official

COLAJ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

171
SURSA: Cinema... un secol si ceva - o istorie cronologica a cinematografului mondial, C.
Corciovescu, Bujor T. Rapeanu

DEFINITIE STANDARD: Procedeu artistic care constă în compunerea unui tablou prin
lipirea laolaltă a unor elemente eterogene.

SURSA DEFINITIE: http://dexonline.ro/search.php?cuv=colaj

NOTA BENE: Din fr. collage.

CORESPONDENT EN: Montage

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Compozitie

VARIANTA: Tehnica de colaj

HIPERONIM: Imagine

HIPONIM: Fotomontaj

ANTONIM: Mizanscena, Montaj

CONTEXT: Tehnica colajului intalnita in Crash si coincidenta intamplarilor nu este un lucru

inedit pentru cinematografie, putand chiar afirma ca pelicula reprezinta varianta americand
a filmului "Amores Perros". Este un film impresionant si fantastic in ansamblu.

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=18455&what=article&article_id=20087

CONTEXT: Sinopsis: „Secvente” contine un colaj a trei episoade din viata unei echipe de
filmare surprinsa in diferite ipostaze : filmand de revelion, mergand in prospectie la un
santier si lucrand intr-un platou.

SURSA CONTEXT: http://www.videofil.ro/film.php?id=2988

ARIE DE UTILIZARE: Cinematografie, Fotografie, Teatru

COMENTARIU: Colajul presupune o insiruire de scevente scurte si lamuritoare asupra

evolutiei unui personaj in planul narativ. Poate fi considerata o metoda- cliseu, datorita
scopului ei de a economisi timpul si banii acordati filmarii unei desfasurari pe larg a
actiunii. Scopul acesta uneori se transforma intr-un element de amuzament, cand
rezultatul final, colajul, este adaugat la montaj, variantei finale a filmului.

STATUTUL DESEMNARII: Oficial

172
 P. A.

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Careers For Film Buffs An Other Hollywood Types, Jaq Greenspoon-, U.S.A.

STANDARD DEFINITION: A person responsible for various odd jobs, which could include
such disseparate tasks as running errands, stopping traffic, acting as couriers, fetching
items from craft service, etc.

DEFINITION SOURCE: www.imdb.com

173
NOTA BENE: PA-ing is the entry-level job title in filmmaking and televisiion production.
Production assistants on films are sometimes attached to individual actors or filmmakers.

RO CORRESPONDANT: Asistent de Productie

GRAMMATICAL CATEGORY: Acronym

GENERIC CONCEPT: Production

HYPERONYM: Assistant

HYPONYM: Personal Assistant, Camera Assistant

PARTIAL SYNONYM: Runner, Set PA, Trainee

VARIANT: P.A., Production Assistant, Gopher, Personal Assistant, Assistant To, Assistant
To Producer

EXPANSION: Production Assistant

CONTEXT: When entering the film business it is quite common to start out as a Production
Assistant (PA). A typical film set will be broken down into Set PAs and Administrative PAs.
The Set PAs work with whichever film unit they are assigned and perform general duties
that the 2nd Assistant Director instructs them to do. Office PA’s do much of the mundane
administrative tasks such as answer phones, get lunch for the cast and crew, pick up odds
and ends, and other ‘runner’ duties. Every film will utilize several PAs depending on the
size of the production.

CONTEXT SOURCE: http://www.jobmonkey.com/filmmusic/movie_industry_jobs.html

CONTEXT: Then it all happens again. Some people, such as the director, assistant
director, and others, are always busy. People like us, production assistants (a nice title for
people who do whatever they are told, from running errands to heavy lifting), do a lot more
waiting around. But without PAs, the production can't happen. We always felt very
appreciated.

CONTEXT SOURCE: http://www.firepathdigital.com/skindeepthemovie/

USE AREA/ FIELD: Cinematography, Television, Advertising

COMMENTARY: Tasks and levels of responsibility can vary greatly, depending on the film,
the needs of the rest of the team, and the skills of the individuals PA themselves.
Production Assistants are often attached to individual actors or filmmakers.

DESIGNATION STATUS: Official

ASISTENT DE PRODUCŢIE

174
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- lucian pricop

DEFINITIE STANDARD: Persoanele care lucrează oriunde este nevoie pe timpul

producţiei filmului.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Asistentii de productie sunt angajati in prima instanta de catre departamentul
de productie, dar pot fi repartizati treptat la alte departamente in functie de necesitati.

CORESPONDENT EN: PA

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Productie

HIPERONIM: Asistent

HIPONIM: Asistent personal

VARIANTA: P.A.

CONTEXT: Particularitatea muncii noastre este ca în acelasi timp avem de realizat mai
multe spoturi. De aceea, nu putem vorbi despre ce înseamna munca de productie pentru
un spot. Suntem trei oameni la productie: eu, înca un production manager si un asistent de
productie. Noi trei coordonam toate joburile. Avem în agentie sase echipe de creatie, la
brand communication mai sunt 5-6 echipe si fiecare au cate doua, trei sau patru conturi.
Noi avem misiunea sa tratam toate conturile/clientii cu maxima seriozitate, indiferent de
anvergura jobului respectiv. Revenind la pasii parcursi, dupa agrearea story board-ului, îl
transmitem catre casele de productie, lansand un pitch/licitatie.

SURSA CONTEXT:
http://www.cariereonline.ro/index.php/articles/
Productia_de_publicitate_nu_este_serviciu_de_curierat!?theme=print

CONTEXT: Sa devii asistent de productie pentru un film sau un serial este un mod prin
care poti, pe de o parte, sa te familiarizezi cu productia de film si, pede alta parte, sa intri
in contact cu factorii de decizie. Indatoririle zilnice pot fi variate si depind, in mare parte, de
productie si de buget, insa nu trebuie subestimat timpul petrecut cu networkingul.

SURSA CONTEXT: http://www.bloombiz.ro/cariere/cum-sa-ajungi-la-hollywood

ARIE DE UTILIZARE: Cinematografie, Televiziune, Publicitate

COMENTARIU: Un asistent de productie poate fi in acelasi timp curier, asistent de platou

mentinand linistea in timpul filmarilor sau ajutand in aspecte tehnice ale pregatirii filmarii,
asistent al regizorului, asistent pentru un actor, intermediar intre departamentul de
productie si cel de regie, gazda pe perioade scurte ( filmari de reclame) a echipei de
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productie in cazul in care aceasta este de origine straina.

STATUTUL DESEMNARII: Oficial

POV

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: A camera angle and shot in which the camera views what
would be visible from a particular object's position.

DEFINITION SOURCE: www.filmsite.org

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NOTA BENE: In script writing, the abbreviation is often used in a slug line, to indicate
particular changes in the action.

RO CORRESPONDANT: Unghi subiectiv

GRAMMATICAL CATEGORY: Acronym

GENERIC CONCEPT: Relation

HYPERONYM: Position, Spatial Relation

HYPONYM: Camera angle

SYNONYM: Subjective Camera

VARIANT: Point of View, P.O.V.

EXPANSION: Point of View

CONTEXT: Alfred Hitchcock’s Rear Window is an extended exercise in the use of POV
camera and editing. The entire film takes place in one location as the main character is
confined to a wheel chair and observes the world through his window. Throughout the film,
we see events through the viewpoint of the main character as he spies on his neighbours.
In this scene, a series of point of view shots allow us to see a murder mystery unfold.

CONTEXT SOURCE: http://www.digitalfilmarchive.net/clda/docs/PointofView.pdf

CONTEXT: The point of view shots here allow us to experience the emotions of the female
lead character as she is left alone in a room full of policemen. In a very direct way, we gain
an insight into the emotional vulnerability of the character played by Jodie Foster and
empathise with her. This visit to the funeral home also triggers her childhood memory of
the trauma she suffered when her father was killed. The point of view shot leads us into a
flashback in a very subtle and seamless way – another example of the invisible storytelling
of the continuity style.

CONTEXT SOURCE: http://www.digitalfilmarchive.net/clda/docs/PointofView.pdf

USE AREA/ FIELD: Cinematography

COMMENTARY: What distinguishes point of view editing is that the object is shown from
the character’s optical vantage point – i.e. directly through the character’s eyes. (So if the
character is drunk, for example, this might mean that the shot is deliberately out of focus
with the camera moving from side to side – a rolling shot. Some of the most famous
examples of the Point of View shot (POV) are to be found in the films of Alfred Hitchcock.
This technique is also common in the horror genre where the director often places the
viewer within the viewing position of the monster.

DESIGNATION STATUS: Official

177
 UNGHI SUBIECTIV

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Poziţia subiectivă a aparatului de filmat, plan urmat de

contraplan; punct de
vedere, perspectiva din care este spusă povestea filmului, sau din care se filmează (a unui
personaj, pentru
a arăta spectatorilor scenele prin ochii acestuia etc).

SURSA DEFINITIE: Limbajul Cinematografic- Marcel Martin

NOTA BENE: La fel ca si in engleza, in intocmirea scenariului se foloseste abrevierea POV

pentru aindicat un cadru filmat din punctul de vedere al protagonistului.

CORESPONDENT EN: POV

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Relationare

HIPERONIM: Spatializare, Pozitionare

HIPONIM: Unghi de filmare

VARIANTA: POV, P.O.V.

CONTEXT: Punctul forte al Scafandrului si fluturelui este partea vizuala. Este filmat
experimental dar nu genul de experiment intelectual care te uimeste dar nu iti spune mare
lucru. Imaginea este integrata in poveste, este parte din ea. Marea majoritate a cadrelor
sunt filmate din unghiul subiectiv al personajului principal. Cum Jean-Dominique Bauby
este paralizat si singura forma de a comunica cu ceilalti este prin clipitul singurului ochi
sanatos, a rezultat de aici un unghi subiectiv foarte deformat si blurat.Conditia lui Jean-
Dominique Bauby este jalnica dar nici o clipa filmul nu ajunge sa fie pateticoid. Ar mai fi
multe de zis despre poveste dar nu vreau sa stric placerea filmului.

SURSA CONTEXT: http://pecta.blogspot.com/2008_02_01_archive.html

CONTEXT: Nu as vrea nici sa interpretez in cheie suprarealista imaginea, dar nici sa o

reduc la partea ei tehnica, mult mai putin relevanta. Dar nu pot sa nu scriu despre
miscarile de camera, folosite intens si foarte indraznet, mai ales cele de rotire, din unghi
subiectiv.

SURSA CONTEXT: http://decupaj.blogspot.com/2007/04/sorta-fairytale.html

178
ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Unghiul subiectiv reprezinta una din tehnicile cele mai apropiate de
senzorial, si cele mai eficiente, in afara de mai nou popularul 3D.

STATUTUL DESEMNARII: Oficial

PRODUCER

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The chief of a movie production in all logistical matters (i.e.,
scheduling, financing, budgeting) saves the creative efforts of the director; raises funding

179
and financing, acquires or develops a story, finalizes the script, hires key personnel for
cast, crew, and director, and arranges for distributors of the film to theaters; serves as the
liaison between the financiers and the film-makers, while managing the production from
start to finish.

DEFINITION SOURCE: The Complete Film Dictionary, Ira,Konigsber, New York:Penguin

NOTA BENE: The producer is involved throughout all phases of the filmmaking process
from development to completion of a project.

RO CORRESPONDANT: Producator

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Financing

HYPERONYM: Creator

HYPONYM: Co-Producer, Line Producer, Executive Producer, Filmmaker

SYNONYM/ PARTIAL SYNONYM/ VARIANT:

RESTRICTIVE CONDITION:

CONTEXT: The firm’s seven consultants review scripts and make sure plot ideas are
plausible. They also flag any science mistakes and suggest ideas for story lines. “We can
give advice,” Burns says, “but it’s always up to the producers to decide how much of it they
incorporate into the film or program.”

CONTEXT SOURCE: http://www.symmetrymagazine.org/cms/?pid=1000553

CONTEXT: Yoko Ono has reportedly filed law suit against the producers of an anti-
evolution documentary film which used John Lennon's song Imagine without her
permission, BBC reported.

CONTEXT SOURCE:
http://www.efluxmedia.com/news_Yoko_Ono_Sues_Film_Producer_for_Using_Lennons_I
magine_16819.html

USE AREA/ FIELD: Cinematography

COMMENTARY: Traditionally, the producer is considered the chief of staff while the
director is in charge of the line. This "staff and line" organization mirrors that of most large
corporations and the military. Under this arrangement, the producer has overall control of
the project and can terminate the director, but the director actually makes the film. The
"line producer" is thus a producer who assists with day-to-day financial and production
concerns "on the line" as the film is being made.
Europeans use the „ producteur exécutif” French interpretation ( although is has a
different meaning than the English translation ) which can stand for an entire production
studio, not necesarely a person.

DESIGNATION STATUS: Official

180
 PRODUCĂTOR

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Persoana care supervizeaza procesul facerii unui film. El este
responsabil cu obtinerea drepturilor unei povestiri si transformarea ei intr-un film.

SURSA DEFINITIE: Engleza Producatorului de Film- Lucian Pricop

NOTA BENE: Producătorul este de obicei prima persoană într-un proiect de film, care
dezvoltă, finanţează şi supervizează producţia de la început până la sfârşit. Dacă un
regizor nu face parte din înţelegere, atunci producătorul poate să aleagă unul.
Producatorul este de obicei o persoana cu abilitati deosebite in afaceri, este foarte
autoritar si are abilitatea de a lucra cu diferite genuri de persoane.

CORESPONDENT EN: Producer

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Finantare

HIPERONIM: Creator

HIPONIM: Producator Asociat, Producator de linie

SINONIM PARTIAL: Producator executiv

VARIANTA: Producator de film

CONTEXT: Peter Buchman si Steven Soderbergh vor lucra din nou impreuna la productia
„Making Jack Falcone”, film ce are la baza memoriile agentului FBI Joaquin Garcia.
Soderbergh va fi producatorul executiv al peliculei iar Peter Buchman se va ocupa de
scenariu. „Making Jack Falcone” va prezenta povestea reala de viata a unui agent FBI sub
acoperire infiltrat in randurile mafiei.

SURSA CONTEXT: http://www.cinemagia.ro/news.php?news_id=10362

CONTEXT: Tot în septembrie va începe să ruleze în cinematografe şi filmul "Megatron" de

Marian Crişan, care a primit trofeul Palme d'Or pentru scurtmetraj la ediţia de anul acesta
a Festivalului de la Cannes. Anca Puiu, producătorului filmului, declara pentru MEDIAFAX,
în iunie, că, înaintea intrării în cinematografe, "Megatron" va fi proiectat la Institutul
Cultural Român în prezenţa regizorului, în cadrul evenimentului "Seara de film ICR".

181
SURSA CONTEXT: http://www.mediafax.ro/life/focus-boogie-nunta-muta-si-megatron-
printre-filmele-romanesti-lansate-in-toamna-la-cinema-video.html?4728;2854700

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Producatorul unui film este cel care decide asupra cheltuielilor de
producţie, iar dacă proiectul depăşeşte bugetul trebuie să decidă dacă activitatea trebuie
oprită sau dacă este nevoie să se aloce bani suplimentari. Producătorii se pot clasifica în
cel puţin două principale categorii, în funcţie de apartenenţa, natura şi mărimea
responsabilităţilor lor: producători angajaţi ca personal permanent şi producători
independenţi. Aceştia din urmă sunt cunoscuţi cu diverse denumiri cum ar fi: producător
executiv, producător de linie, care este un fel de producător delegat, producător asociat,
precum şi aşanumiţii producători cu “cratimă”, respectiv regizor–producător, interpreţi–
producători, sau scenarist–regizor– producător etc.
Iată câteva deosebiri între modelul european şi cel american de producători independenţi.
În practica europeană, după modelul francez este denumit producteur exécutif (dar cu alt
sens decât la americani) şi este de obicei persoana juridică (poate fi chiar un studio de
producţie) care are sarcina de a asigura “fabricarea” filmului, el fiind asimilat unui
“supermanager de producţie”. Producătorul delegat (Producteur délégué) este o funcţie
echivalentă cu executive producer-ul american, el fiind producătorul general, supervizor,
delegat de către ceilalţi producători cu terminarea filmului.

STATUTUL DESEMNARII: Oficial

PROPS

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

182
STANDARD DEFINITION: The furnishings, fixtures, hand-held objects, decorations, or any
other moveable items that are seen or used on a film (or stage) set but that are not a
structural part of the set; usually the responsibility of the prop man or property master.

DEFINITION SOURCE:

NOTA BENE: Smaller props are referred to as "hand props". Larger props may also be set
decoration, such as a chair or table. The difference between a set decoration and a prop is
use. If the item is not touched by a performer for any reason it is simply a set decoration. If
it is touched by the actor in accordance to script requirements or as deemed by the
director, it is a prop.

RO CORRESPONDANT: Recuzita

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Artciles

HYPERONYM: Object

SYNONYM: Property

EXPANSION: Property

CONTEXT: Xscapes Sci-Fi Originals is your source for television and movie props and film
prop replicas. We offer a wide selection of movie props, many of which are custom made
or designed for the collector, and are film set quality props. We carry quality original
artwork, television, movie and film prop reproductions such as Star Trek props, Star Wars
Props, and even more, museum quality movie props, and replicas.

CONTEXT SOURCE: http://www.xscapesprops.com/moviepropsmainmenu.htm

CONTEXT: Thanks to Paramount’s promotional partner Lenovo, we now have the first
detailed look at new props from the Star Trek movie. Starting tonight, Lenovo is displaying
three genuine props from the new Star Trek movie at the CES Show in Las Vegas, and
TrekMovie was there at the unveiling.

CONTEXT SOURCE:
http://tvblips.dailyradar.com/story/first_look_at_star_trek_movie_props/

USE AREA/ FIELD: Cinematography

COMMENTARY: The set design manipulated by famous actors can at times become
reason for fetishism on the viewers's side. Props themselves can be considered as playing
their one roles in the action of a film and become very expensive E-Bay items.

DESIGNATION STATUS: Official

RECUZITĂ
183
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.dexonline.ro

DEFINITIE STANDARD: orice obiect “care joacă” folosit într-o secvenţă sau care este
menţionat în mod expres în scenariu (de ex. scaunul pe care stă regizorul este mobilier,
dar dacă se vede în film, sau se face ceva cu el pentru că aşa cere scenariul, atunci este
recuzită).

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Recuziterul colaboreaza cu secretara de platou si cu asistentul de

scenografie la pastrarea racordului, a continuitatii prin recuzita.

CORESPONDENT EN: Props

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Articole

HIPERONIM: Obiect

CONTEXT: Recuzita unor filme celebre de desene animate expuse la Centrul Cultural
German din Sibiu. Centrul Cultural German din Sibiu verniseaza una dintre cele mai
dragalase expozitii din acest an- ''Animated Films from Germany 2004''. Evenimentul va
avea loc azi, ora 13:00 la Galeria de Arta Contemporana a Muzeului Brukenthal din strada
Tribunei nr. 6.

SURSA CONTEXT: http://sibiu.iis.ro/recuzita-unor-filme-celebre-de-desene-animate-

expuse-la-centrul-cultural-german-din-sibiu/

CONTEXT: Expozitia "Maestrii scenei lirice si dramatice romanesti" propune, pana la

sfarsitul lunii noiembrie, la Muzeul National de Istorie a Romaniei (MNIR), o incursiune in
lumea teatrului si a muzicii culte autohtone.
Mari actori, interpreti, compozitori si personalitati ale vietii culturale romanesti va asteapta
sa-i descoperiti prin intermediul fotografiilor, obiectelor personale si de recuzita, in cadrul
expozitiei organizate in colaborare cu Teatrul National "I.L. Caragiale" si Muzeul National
"George Enescu".

SURSA CONTEXT: http://cinema.rol.ro/Stiri/Filme/Recuzita-de-maestru.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Desi obiectele care apar intr-un film sunt de un numar impresionant la
inceputul productiei, multe dintre ele tind sa dispara pe parcurs, ele fiind considerate de
colectie.
184
STATUTUL DESEMNARII: Oficial

PROSTHETIC MAKE-UP

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

185
SOURCE: American Cinematographer Manual, American Society of Cinematographers,
7th Edition, U.S.A. 1993

STANDARD DEFINITION: Prosthetic makeup is the process of using prosthetic sculpting,

molding and casting techniques to create advanced cosmetic effects.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: Prosthetic makeup was revolutionized by Dick Smith in such films as Little
Big Man.

RO CORRESPONDANT: Machiaj Prostetic

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Cosmetics

HYPERONYM: Make-up

HYPONYM: Beauty Make-up

SYNONYM: Special Effects Make-up

VARIANT: Prosthetics

ABBREVIATION: SFX Make-up

CONTEXT: Prosthetic Make-up Course : This Course is designed to equip the students
with the basic skills to work in a special make up effects lab. This class will teach students
from beginning to end, the entire prosthetic process. Taught in a working lab, students will
learn the fundamental job skills necessary to create and apply their own realistic
appliances, for HD, television, film or print. Students will create silicone gel-filled
appliances, gelatin appliances and multi piece facial appliances. Students will learn and
practice the art of application, utilizing proper placement, coloration and blending to create
realistic prosthetic makeup creations. Also included is Creature FX Sculpture Design,
where students design and create their own creature maquette.

CONTEXT SOURCE: http://www.cinemamakeup.com/classes/prosthetics/index.htm

CONTEXT: All prosthetic makeup fell under Dudman's purview, as well as "organic props"
including Death Eater masks and a moving potted plant. "We did Mad-Eye Moody, a major
multi-piece silicone prosthetic makeup for Brendan Gleeson, with an animatronic, radio-
controlled eye. Also we do Voldemort. Although Ralph Fiennes' nose is removed digitally,
everything else on him is real so we do prosthetic pieces for his forehead, take out his
eyebrows, cover all visible skin with a network of transferred veins, which are done on a
temporary tattoo system. It's printed out on a computer so we can line them all up
identically every day."

CONTEXT SOURCE: http://entertainment.howstuffworks.com/harry-potter-phoenix4.htm

USE AREA/ FIELD: Cinematography

186
COMMENTARY: The process of creating a prosthetic appliance begins with lifecasting, the
process of taking a mold of a body part (often the face) to use as a base for sculpting the
prosthetic. Lifecast molds are made from prosthetic alginate or more recently, from skin-
safe silicone rubber. This initial mold is relatively weak and flexible. A hard mother mold,
typically made of plaster or fiberglass bandages is created overtop the initial mold to
provide support.

DESIGNATION STATUS: Official

MACHIAJ PROSTETIC

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Tip de machiaj constand in folosirea tehnicilor de modelaj

deosebite ( proteze, masti, materiale neconventionale aplicarii pe piele) aducand un aport
deosebit efectelor speciale dintr-un film.

SURSA DEFINITIE: Engleza Producatorului de Film, Lucian Pricop

NOTA BENE: Machiajul prostetic consuma de obicei destul d emult timp inaintea filmarii
unei secvente, de aceea orarul zilei de filmare in care exista scene cu astfel de efecte
speciale, trebuie pregatit in jurul acestui moment.

CORESPONDENT EN: Prosthetic Make-up

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Cosmetica

HIPERONIM: Machiaj

HIPONIM: Machiaj permanent

SINONIM: Machiaj Special

CONTEXT: Speedman n-a fost singurul actor care si-a petrecut o groaza de timp la
machiaj. Britanicul Bill Nighy, care il interpreteaza pe Viktor, conducatorul Vampirilor, a
trecut printr-o experienta similara si a fost trecut din faza de mumie la cea de Vampir in
carne si oase. Habar n-aveam ce inseamna machiaj prostetic, pana in momentul in care
am ajuns la fata locului, si pot sa va spun ca este o procedura extrem de dureroasa,
comenteaza el. Dar nu poti sa te superi pe ei, pentru ca sunt niste tipi de treaba; sunt
foarte draguti, si se pricep foarte bine la ceea ce fac.

SURSA CONTEXT:

187
http://www.cinemagia.ro/movie.php/movie_id=5149&what=article&article_id=7352

CONTEXT: Surse din Castel Film au declarat, in exclusivitate pentru Ziua, ca scenariul
filmului implica multe efecte speciale, pirotehnica, machiaj prostetic si grafica 3D.
Producatorii romani spun ca, daca in prima productie "Anaconda" tehnologia animatronicii
a fost de baza, datorita evolutiei colosale a procesului CGI-imagini generate pe calculator-
noul film va beneficia de tehnologia informatica pentru a crea si a trezi la viata reptile
gigant.

SURSA CONTEXT: http://stiri.rol.ro/content/view/76751/4/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Machiajul prostetic consta in machiaje elaborate care sa creeze iluzia

intineririi, imbatranirii sau mutilarii fetei. Masti din latex aplicate pe fetele actorilor,
impreuna cu tehnici mecanice de manipulare pot transforma fete umane in monstri sau
extraterestri.

STATUTUL DESEMNARII: Oficial

REEL

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

188
SOURCE: www.imdb.com

STANDARD DEFINITION: A winder around which thread or tape or film or other flexible
materials can be wound.

DEFINITION SOURCE: The Sage's English Dictionary and Thesaurus

NOTA BENE: Typical reels hold 15-25 minutes of film.

RO CORRESPONDANT: Bobina

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Mechanics

HYPERONYM: Winder

HYPONYM: Filature, Shuttle

SYNONYM: Bobbin, Spool

CONTEXT: Studios spent more than $631 million in 2003 on film prints for the North
American market alone, according to the Motion Picture Association of America.
Subtracting reels from that equation could reduce total distribution costs by as much as 90
percent, according to U.K. digital cinema analyst Patrick von Sychowski. Add in costs for
overseas distribution and exhibition, and the move from prints to digital files could mean an
eventual annual savings of up to $900 million.

CONTEXT SOURCE: http://www.wired.com/entertainment/music/news/2005/07/68332

CONTEXT: Produced in a superior formulation of tough, lightweight polystyrene, Tuscan

16mm film reels are designed to withstand the wear and tear of continuous use, having a
proven balance of rigidity and impact strength with these important features:
 Material specification and a reinforced spool design prevent rim buckling or damage
from the impact of a fall.
 Due to a patented process of assembly, Tuscan reels will not warp or lose shape.
 All edges are smoothly rounded for film protection and ease of handling.
 The hardened metal drive insert will not wear.
 Easy-to-read accurately calibrated scale in meters and feet is provided on both
sides of the reel.

CONTEXT SOURCE: http://www.tuscancorp.com/products/reels.html

USE AREA/ FIELD: Cinematography

COMMENTARY: A finished movie usually consists in six reels of approximately 20 minutes

each. This gives film-makers a good way of chaptering their stories while they are
developing it (a movie needs to have its plot exposed in the first reel and the first act in the
first 2 reels).

189
DESIGNATION STATUS: Official

BOBINĂ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Obiect cilindric din metal sau plastic, pe care este infasurat filmul.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Cuvantul provine din franceza: bobine. Poate determina diverse tipuri de
materiale infasurate in jurul unui miez metalic sau de plastic.

CORESPONDENT EN: Reel

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Mecanica

HIPONIM: Rola, Mosor

VARIANTA: Bobina de film, Rola de film

CONTEXT: 'Viata ca o bobina de film'

Cele mai interesante filme documentare din ultimele doua decenii, filme de non-fictiune,
care au fost premiate la festivaluri internationale, precum si filme selectionate si premiate
la Astra Film – festivalul de la Sibiu, sunt prezentate in fiecare zi.

SURSA CONTEXT: http://www.9am.ro/stiri-revista-presei/Social/67406/Viata-ca-o-bobina-

de-film.html

CONTEXT: Vanzarea locului unde era depozitata arhiva Sahia a creat chiar situatii
socante: "In momentul in care am preluat Sahia venind la serviciu, am vazut cativa baieti
mai soiosi, care carau de la bunker spre Sahia o roaba, iar in roaba erau bobine de film.
Am pus si eu mana pe prima bobina. Stiti ce scria pe ea? Revolutia Romana. In momentul
acela am luat foc, pur si simplu. Am oprit toata activitatea, i-am dat afara pe muncitori, am
pus lanturi la poarta si am anuntat ca nu se mai face nimic pana nu discut cu directorul
firmei

SURSA CONTEXT: http://www.gandul.info/arte/lucrari-reconstructie-sahia-film.html?

3940;255995

ARIE DE UTILIZARE: Cinematografie

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COMENTARIU: O bobina de film sustine pelicula cat pentru 15-20 de minute de film.

STATUTUL DESEMNARII: Oficial

RELEASE

ID LANGUAGE: English

191
ID COUNTRY: U.S.A., U.K.

SOURCE: The Sage's English Dictionary and Thesaurus

STANDARD DEFINITION: The first distribution and general public exhibition of a film to
theatre audiences.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term can also be applied to any products issued for sale or public
showing, or to music albums.

RO CORRESPONDANT: Lansare

GRAMMATICAL CATEGORY:Noun

GENERIC CONCEPT: Goods

HYPERONYM: Product. Merchendise

SYNONYM/ PARTIAL SYNONYM/ VARIANT: Released

CONTEXT: How much would you pay to see a new theatrical release in the comfort of your
own home? Comcast is trying to make the "simultaneous release" dream happen, but with
prices being proposed in the $30-50 range per screening, the dream looks more like a
Hollywood acid trip. Comcast COO Stephen Burke told attendees at last week's national
cable confab that studios are interested, but that interest must be limited, for he didn't
name names and the studios aren't talking. It is the first time we've heard some quasi-solid
pricing details from a major player, however.

CONTEXT SOURCE: http://arstechnica.com/old/content/2007/05/comcast-working-on-

simultaneous-movie-release-service-30-50-per-film.ars

CONTEXT: 20th Century Fox Home Entertainment will release Ice Age: The Meltdown on
November 21, 2006 with an SRP of $29.98. Supplments are expected to include
commentaries, a new Scrat short called No Time for Nuts, three Crash & Eddie Stunts,
Bloopers, a featurettes, storyboard comparisons, games, and a preview of The Simpsons
Movie.

CONTEXT SOURCE: http://www.dvdfile.com/article/summer-movie-release-news-9905

USE AREA/ FIELD: Cinematography, Theatre, Music

COMMENTARY: When a movie is shipped to exhibitors by the distributor, it is deemed to

have been released for public viewing and there are no longer any studio restrictions on
who can see the movie.

DESIGNATION STATUS: Official

LANSARE
192
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Tehnica Filmului de la A la Z, Alexandru Marin, 1979

DEFINITIE STANDARD: Punerea in circulatie urmta de difuzarea unui produs

cinematografic pentru a-l face cunoscut.

SURSA DEFINITIE: http://dexonline.ro/search.php?cuv=lansare

NOTA BENE: Termenul provine din frantuzescul „lancer”

CORESPONDENT EN: Release

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Bunuri de consum

HIPERONIM: Produs finit

SINONIM PARTIAL: Premiera, Distribuire

CONTEXT: Nivelul de alerta terorista din Olanda va fi ridicat la doi, care presupune un risc
"substantial", din cauza lansarii anuntate a unui film despre Coran al unui deputat de
extrema-dreapta si a prelungirii misiunii olandeze din Afganistan, a anuntat astazi
cotidianul Het Algemeen Dagblad, citat de AFP.

SURSA CONTEXT: http://www.9am.ro/stiri-revista-presei/International/85950/Alerta-

terorista-in-Olanda-inainte-de-lansarea-unui-film-despre-Coran.html

CONTEXT: Cei care mai urmaresc talk-show-urile de la americani (Jay Leno, Jon Stewart
s.a.) l-au tot vazut invitat pe David Frost, cunoscutul ziarist britanic. Motivul e simplu: dubla
lansare de film si dvd in care el este personaj cheie.

SURSA CONTEXT: http://www.dob.ro/Articole/Entertainment/1902/Frost-Nixon,-dubla-

lansare

ARIE DE UTILIZARE: Cinematografie, Teatru, Opera

COMENTARIU: Termenul se referă la film ca noutate cinematografică mai mult decat

echivalentul sau in engleza, in sensul in care tinde sa se confunde cu ideea de premiera.

STATUTUL DESEMNARII: Oficial

SCORE

ID LANGUAGE: English
193
ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: 1. A written form of musical composition; parts for different

instruments appear on separate staves on large pages. 2. A broad term referring to the
music in a film, which is generally categorically separated from songs used within a film.

DEFINITION SOURCE: The Sage's English Dictionary and Thesaurus

NOTA BENE: The Term is frequently used as synonymous to soundtrack, though a

soundtrack may also include the songs used in a film, while the score does not. „score can
also determine the situation of a sporting competitiong.

RO CORRESPONDANT: Muzica de film

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Music

HYPERONYM: Sheet music

HYPONYM: Orchestration

SYNONYM: Musical score, Film score

PARTIAL SYNONYM: Soundtrack, Original Score

CONTEXT: Taxi Driver's score consists of variations on two main themes, representative of
different aspects of Bickle's character. The first, a simple progression of two descending
tones, using brass, woodwind, side drum and cymbal, is associated with Travis' reaction to
the “filthy mass” – the moral corruption he sees around him. Its pounding, incessant
rhythm sets an ominous tone. The second theme is a blues development of the first, a
romantic lilting saxophone that is equated with Travis' desire, first identified with Betsy
(Cybill Shepherd) and then Iris.

CONTEXT SOURCE: http://archive.sensesofcinema.com/contents/05/37/taxi_driver.html

CONTEXT: "Watchmen" will have its soundtrack album and score compilation released
three days before it makes its debut in the U.S. theaters. On Thursday, January 22,
Warner Sunset/Reprise Records announced that both of the movie's soundtrack and
original score have been set to hit U.S. stores on March 3.

CONTEXT SOURCE: http://www.aceshowbiz.com/news/view/00021467.html

USE AREA/ FIELD: Muzic, Cinematography, Sports

COMMENTARY: Electronic score is cheaper to use because it's done on a Computer. The
most expensive is performed by an orchestra. A score is sometimes written specifically to
accompany a film, but may also be compiled from previously written musical compositions
or preexisting songs, as in Tarantino movies.
194
DESIGNATION STATUS: Official

MUZICĂ DE FILM

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Muzica scrisa special pentru productia unui film. Aceasta poate fi
preluata de pe coloana sonora a altor filme, dupa ce popularitatea i-a adus autonomie.

SURSA DEFINITIE: Engleza producatorului de film- Lucian Pricop

NOTA BENE: Muzica de film este confundata deseori cu muzica de cantautor, desi
reprezinta instrumentale mai lungi decat piesele obisnuite din industria muzicala.

CORESPONDENT EN: Score

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Muzica

HIPERONIM: Partitura Muzicala

HIPONIM: Orchestratie

VARIANYA: Muzica pentru film

SINONIM PARTIAL: Coloana sonora

CONTEXT: Chiar sub nasul nostru se afla o serie de compozitori de muzica de film geniali
ale caror opere rivalizeaza uneori cu cele ale clasicilor. Ei sunt cei care compun o muzica
concentrata, care iti spune foarte multe intr-un timp relativ scurt. Este muzica care
combina orchestra clasica cu efectele speciale, este muzica care iti ofera sentimente
foarte diferite si trairi unice.
Compozitori ca Jerry Golsmith, John Williams, Don Davis, Howard Shore, James Newton
Howard, Alan Silvestri, Elliot Goldenthal, Brad Fiedel si multi altii sunt continuatorii marilor
clasici. Muzica lor este adaptata nevoilor de azi ale spiritului avid de senzatii si sentimente
complet noi.

SURSA CONTEXT: http://www.cinemagia.ro/forum/viewtopic.php?t=63

CONTEXT: Eu unul sunt cu totul pentru muzica de film, chiar si pentru cea considerata de
calitate mai scazuta - desi mi-e greu sa spun cum se judeca aici calitatea, e cu totul alt
gen de lucrare muzicala. Probabil un criteriu ar fi daca coloana sonora poate fi separata de

195
imagine sau nu. In cele mai multe cazuri, lipsita de film, coloana sonora isi pierde
semnificatia si valoarea. Pe de alta parte insa, cinematografia (care include si muzica de
film, evident ) este arta prezentului si a viitorului, singura care poate avea pretentii de a
deveni intr-o zi "arta totala".

SURSA CONTEXT: http://www.fanclub.ro/showthread.php?t=17630

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Se traduce de regulă „coloana sonora” astfel, deşi e vorba doar de muzica
filmului, după cum „soundtrack” ar trebui să însemne pentru vorbitorii de engleză „bandă
sonoră”, dar se acceptă a reprezenta muzica (melodiile) dintr-un film.

STATUTUL DESEMNARII: Oficial

SCOUTING

196
ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: Exploring in order to gain information on possible filming

locations. Location scouts are the ones who, when needed, negotiate legal access to
filming locations.

DEFINITION SOURCE: http://en.wikipedia.org/wiki/Location_scouting

NOTA BENE: Location scouting is a vital process in the pre-production stage of filmmaking
and commercial photography. Once scriptwriters, producers or directors have decided
what general kind of scenery they require for the various parts of their work that is shot
outside of the studio, a search is begun for a suitable place or "location" outside the studio.
Location scouts also look for generally spectacular or interesting locations beforehand, to
have a database of locations in case of requests.

RO CORRESPONDANT: Prospectie

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Information gathering

HYPERONYM: Reconnaissance

SYNONYM: Exploratory survey

VARIANT: Scout

CONTEXT: Audrey and her classmate Jesse are shooting a short film on 16mm this month
and we all went out location scouting on the banks of the Delaware River just north of Port
Richmond in Philly, nearly under the Betsy Ross Bridge. We just happened to stumble
upon this fabulous little old overgrown jetty that was simply magical.

CONTEXT SOURCE: http://thepovertyjetset.com/2008/11/17/location-scouting-on-the-

delaware/

CONTEXT: The process of scouting includes searching for and assesing possibilities for
specific scenes. Familiarity with the script is generally required, although some location
scouts are armed with only a list of needed locations and their desirable features. Once
suitable possibilities are found, the director, the DP, and, in some instances, the DP will
visit the locations and evaluate their visual and technical appeal. With the input of the DP
and the designer, not to mention the financial people, the producer and the director make
the final decisions.

CONTEXT SOURCE:
http://www.associatedcontent.com/article/1434765/how_to_scout_a_location_for_a_film.ht
ml

197
USE AREA/ FIELD: Cinematography

COMMENTARY: A location scout typically takes descriptive, panoramic photographs or

video of location possibilities. A good location scout will make photos of a location
possibility that reflect the aesthetic goals of the production and will also include visually
descriptive utilitarian photography and info in his/her presentation, documenting much
more than just what will potentially appear onscreen.

DESIGNATION STATUS: Official

PROSPECŢIE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Cercetare si explorare pentru găsirea locurilor de filmare.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Asistentul de locatii este cel care se ocupa de furnizarea informatiilor cu
privire la disponibilitatea locatiilor , sau a celor similare dorite de un regizor.

CORESPONDENT EN: Scouting

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Cercetare

HIPERONIM: Recunoastere, Gasire:

SINONIM: Prospectare

CONTEXT: Libra Film, a lui Tudor Giurgiu, furnizeaza servicii de casting, face prospectii
pentru locatii si ofera servicii de productie pentru diverse proiecte. Anul trecut, ei au produs
un singur film, documentarul „Marele Jaf Comunist“, o coproductie internationala in regia
lui Alexandru Solomon.

SURSA CONTEXT: http://www.livenews.ro/stire/actorii-lor-si-caii-nostri-art551.aspx

CONTEXT: Plecati in prospectie pentru a gasi locatiile cele mai potrivite, Stone si Roelfs
au cautat in multe parti ale lumii, pentru a gasi peisajele corespunzatoare calatoriei lui
Alexandru, iar in final s-au decis sa aleaga Marocul si Thailanda, folosind in plus si
Studiourile Pinewood si Shepperton, aflate in afara Londrei, pentru filmarile interioare.
Marocul era perfect pentru proportiile cerute de acest film. Ceea ce are de oferit aceasta
tara in materie de peisaje, oameni si atmosfera evocatoare a lumii antice o face sa fie locul

198
ideal pentru reconstituirea unei mari parti din viata lui Alexandru.

SURSA CONTEXT:
http://www.cinemagia.ro/movie.phpmovie_id=6759&what=article&article_id=9261

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Pentru ca o locatie sa fie potrivita unei filmari, trebui sa indeplineasca un

minim de conditii: estetica deosebita, pret de inchiriere rezonabil, daca nu cel mi mic
posibil, distanta mica de acces catre baza de filmare si fata de celelate locatii stabilite pe
ziua respectiva de filmare, existenta locurilor de parcare pentru echipa si utilajele speciale,
acces la surse de energie pentru conectarea cablurilor, acordul si cooperarea
proprietarului.

STATUTUL DESEMNARII: Oficial

SCREENING
199
ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: The exhibition or display of a movie, typically at a cinema

house/theatre.

DEFINITION SOURCE: The Complete Film Dictionary, Ira,Konigsber, New York:Penguin

NOTA BENE: Screenings may vary accorind to their purpose, whether they are arranged
for the press, for a focus-group, or for private occasions, meaning non-theatrical purposes.
This is when a screening can be defined as the displaying of a film, as part of its
production and release cycle, before it is widely released to movie theaters. To show the
film to best advantage, screenings can occur in plush, low seat-count theaters with very
high quality (sometimes especially certified) projection and sound equipment, and can be
accompanied by food and drink and spoken remarks by producers, writers, or actors.
These kind of screenings typically occur outside normal theatrical showing hours.

RO CORRESPONDANT: Vizionare

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Visualization

HYPERONYM: Display

HYPONYM: Theatrical screening, Non-theatrecal screening, Screening room, Press

screening, Test screening, Pirvate screening, Sneak preview

SYNONYM: Showing, Viewing

VARIANT: Film screening

CONTEXT: The screening for paying audiences is considered a "theatrical" screening. To

show a film in this context, you will usually need to book the film from its theatrical
distributor. Your venue will need to have the necessary local authority licensing to hold
such an event. You will also need to make sure that your audience is of the appropriate
age for the film's certificate.

CONTEXT SOURCE: http://www.bfi.org.uk/filmtvinfo/screening.html

CONTEXT: The Berkman Center, Peter Galison, and Robb Moss present a screening of
the film "Secrecy", a film about the vast, invisible world of government secrecy, followed by
a roundtable discussion with professors Jack Goldsmith, Martha Minow, and Jonathan
Zittrain.

CONTEXT SOURCE: http://cyber.law.harvard.edu/events/2009/02/secrecy

200
USE AREA/ FIELD: Cinematography

COMMENTARY: To screen (or unspool) a film means to show or project a film; types of
screenings include a critical screening (a pre-release viewing for film critics), a pre-
screening, or a focus-group screening (to test audience reactions to a film's rough cut).
These are all non-theatrical screenings. The theatrical ones are ment for the wide, paying,
audience

DESIGNATION STATUS: Official

VIZIONARE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Difuzarea unui film pentru marele public în sala de cinematograf.

SURSA DEFINITIE: Limbajul Cinematografic, Marcel Martin

NOTA BENE: In afara se sendul de baza, vizionarea poate defini anumite evenimente prin
care proiectul cinematografic sa fie testat, sau evaluat, de un grup de opinii sau de presa,
inainte de a fi „ servit” marelui public.

CORESPONDENT EN: Screening

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Vizualizare

HIPERONIM: Afisare.

HIPONIM: Sala de vizionare, Vizionare de presa

VARIANTA: Vizionare pentru public

CONTEXT: Todayin parteneriat cu Anaid Art Gallery va invita joi 20 noiembrie orele 19.00
sa luati parte la ultimul eveniment din cadrul primului proiect international de arta
contemporana feminista Perspective 2008, curatoare Olivia Nitis. Aveti ocazia de a lua
parte la o vizionare de fime de scurt metraj ale organizatiei FemLink (Franta/SUA)
international video collage.

SURSA CONTEXT: http://www.nettime.org/Lists-Archives/nettime-ro-0811/msg00103.html

CONTEXT: La aceasta conferinta am avut placerea sa cunosc si o alta jurnalista romana,

Dana Grigorcea, de la Realitatea TV care a pus o intrebare autorului cartii. Dupa

201
conferinta, am reusit sa vorbesc cu ea si am invitat-o la vizionarea de presa cu filmul
romanesc Cea mai fericita fata din lume.

SURSA CONTEXT: http://blog.cinefan.ro/2009/david-kross-ralph-fiennes-si-cea-mai-

fericita-fata-din-lume/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Vizionarile de presa au loc in general la orele diminetii, pe baza de

invitatie, si sunt adresate atat jurnalistilor de film si monden, cat si echipei si distributiei
filmului.

STATUTUL DESEMNARII: Oficial

202
 SCRIPT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: The Motion Picture / From Magic Lantern To Sound Film , Julius Pfragner,
London, 1974

STANDARD DEFINITION: A general term for a written work detailing story, setting, and
dialogue. A script may take the form of a screenplay, shooting script, lined script, continuity
script, or a spec script.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term „scenario” is often used in the U.S. for both script and screenplay.
This term is of Italian origin and is very symilar to the Romanian equivalent.

RO CORRESPONDANT: Scenariu

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Drama

HYPERONYM: Dramatic composition, Dramatic work

HYPONYM: Continuity, Dialogue, Screenplay

SYNONYM: Book, Playscript

Variant: Scenario

CONTEXT: With so many highly original and outstanding screenplays hitting our screens,
like those of Tarantino, Kaufman and The Coens, anyone wanting to write a killer script
needs to make sure their screenwriting is beyond amazing.
There are just too many 'nearly great' scripts (quite apart from all the weak ones) being
rejected every day by the industry. Movie script readers have a favorite phrase: 'I liked it,
didn't love it.'

CONTEXT SOURCE: http://www.unique-screenwriting.com/pulp-fiction-screenwriting.html

CONTEXT: Boyle had originally expected to have the torture scene cut but to his surprise
the Indian government approved it ''as long as no one above the rank of inspector was in
it.''
Although the script was initially written in English, Boyle soon realized that making it in
India didn’t work with the language. The movie was translated to Hindi, which Boyle said
''made it come alive.''

CONTEXT SOURCE:
http://www.efluxmedia.com/news_Slums_Of_Mumbai_Explored_By_Trainspotting_Director
203
s_Latest_Film_28766.html

USE AREA/ FIELD: Cinematography, Television, Theatre

COMMENTARY: A script is often sold for a particular price, which is increased to a second
price if the script is produced as a movie. For example, a sale may be described as
"$100,000 against $250,000". In this case, the writer is paid $100,000 up front, and
another $150,000 when the movie is produced. See also advance.

DESIGNATION STATUS: Oficial

SCENARIU

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Textul propriu-zis pe baza caruia se realizeaza un film, ce contine

in forma scrisa replicile pe care urmeaza sa le rosteasca personajele, descrieri ale
cadrelor si scenelor si indicatii regizorale minimale.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: De multe ori scenariile sunt adaptari ale unor carti, piese de teatru,
evenimente reale sau alte productii cinematografice.

CORESPONDENT EN: Script

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Dramaturgie

HIPERONIM: Opera dramatica

HIPONIM: Schita, Dialog, Continuitate

SINONIM PARTIAL: Plan

CONTEXT: David Lindsay-Abaire, care anul trecut a castigat premiul Pulitzer pentru cea
mai buna piesa de teatru, se afla in etapa finala a negocierilor cu studiourile Columbia
Pictures pentru a scrie scenariul urmatorului film din seria "Omul paianjen/ Spiderman".

SURSA CONTEXT: http://www.filme.ro/Stiri-Filme.ro/Scenariul-pentru-Omul-paianjen-4-va-

fi-scris-de-un-castigator-al-premiului-Pulitzer.html

CONTEXT: Jason Reitman, regizorul peliculelor “Juno” si “Thank You for Smoking”, a

204
adaptat scenariul filmului “Up in the Air” dupa romanul omonim al autorului Walter Kirn.
Proiectul a fost detinut initial de catre DreamWorks, dar a intrat ulterior in posesia
Paramount Pictures dupa ce DreamWorks s-a retras din cadrul studioului din Melrose in
septembrie 2008.

SURSA CONTEXT: http://www.moviesbox.ro/news/stiri-vedete/jason-reitman-va-semna-

regia-si-scenariul-filmului-up-in-the-air.html

ARIE DE UTILIZARE: Cinematografie, Televiziune, Teatru

COMENTARIU: Textul initial al unui scenariu trebuie sa fie, inainte de a fi prezentat echipei
cu care se realizeaza filmul respectiv, supus unei interventii editoriale.

STATUTUL DESEMNARII: Oficial

205
 SECOND UNIT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: American Cinematographer Manual, American Society of Cinematographers,

7th Edition, U.S.A. 1993

STANDARD DEFINITION: A small, subordinate crew responsible for filming shots of less
importance, such as inserts, crowds, scenery, etc.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: A second unit crew is much reduced and mobile than a first unit crew.

RO CORRESPONDANT: Echipa a doua

GRAMMATICAL CATEGORY: Noun Phrase

GENERIC CONCEPT: Social Group

HYPERONYM: Organization

HYPONYM: Team, Working Party

VARIANT: 2nd Unit

ANTONYM: First Unit

CONTEXT: I direct but he’s more like a producer, ensuring we have the best things
possible, working with the production designers to motivate them and everything. And on
this he’s done three weeks of second unit, which was great. He did the scientist opening
scene and the entire dog fighting sequences, which was very hard, because shooting with
dogs in the desert during the summer is nearly impossible.

CONTEXT SOURCE: http://www.eatmybrains.com/showfeature.php?id=43

CONTEXT: Alexander Witt’s career spans more than 25 years, starting as a camera
assistant and then an operator and director of photography. He has since earned a stellar
reputation as one of the industry’s top visualizes as both a second unit director and a
director of photography and made his directorial debut in 2004 on Resident Evil:
Apocalypse staring Milla Jovovich.

CONTEXT SOURCE:
http://www.mi6.co.uk/sections/articles/interview_alexander_witt_2ndunit.php3

USE AREA/ FIELD: Cinematography

206
COMMENTARY: It really depends on director whether or not there even is a second unit
crew on the production of a movie. For example,Quentin Tarantino always refused to have
one.

DESIGNATION STATUS: Official

ECHIPA A DOUA

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Echipa din productia unui film care filmează scenele în care
lipsesc de obicei actorii principali.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Echipa a doua dispune de un numar semnificativ redus de membri, uneori
de maxim 10, comparativ cu in jur de 100 pentru echipa principala.

CORESPONDENT EN: Second Unit

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Grup Social

HIPERONIM: Organizatie

HIPONIM: Echipa

ANTONIM: Echipa Intai

CONTEXT: Sa fii pe platourile de filmare de la Elicopter la Pamant! in Sale, in timpul

filmarilor insemna sa fi martorul unui spectacol zilnic care uneori intrecea orice descriere.
Sute de actori si figuranti imbracati in uniforme militare si costume nationale somaleze,
nenumarate arme, explozii si incendii, elicoptere care ori filmau din aer actiunea ori erau
filmate din aer sau de la sol, toate sub ochii populatiei fascinate sau nedumerite de
incredibilele activitati ale actorilor si echipei tehnice. Au fost tabere instalate atat pentru
echipa principala de filmare cat si pentru echipa a doua, cu un numar mare de rulote,
camioane si alte vehicule, cat si corturi pentru catering, figuranti si costume

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=497&what=article&article_id=2394

CONTEXT: Rondell si Stoneham, impreuna cu regizorul echipei a doua David Ellis, au mai
avut de pregatit spectaculoasele ciocniri de masini, de coordonat caderile de la inaltime si

207
conducerile precise, si de punere la punct a iesirilor din diversele situatii explozive din film.
Numarul ridicat al cascadelor complicate realizate in primele patru saptamani de filmari, au
necesitat conlucrarea simultana a doua echipe: echipa principala si echipa de cascadori
(sau echipa a doua).

SURSA CONTEXT:
http://www.cinemagia.ro/movie.php/movie_id=245&what=article&article_id=1233

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Echipa a doua filmează pentru eficientizarea producţiei cadrele dintr-o

secvenţă în care nu apar actorii principali sau în care aceştia pot fi înlocuiţi de dubluri,
cadre de stabilire a spaţiului (establishing shots) sau de natură (avînd posibilitatea să
aştepte lumina sau atmosfera favorabilă), cadrele necesare realizării de trucaje (a căror
filmare laborioasă cere mai mult timp). Rolul major al acestei echipe se afirmă în filmarea
părţilor din scenele de acţiune care implică situaţii periculoase sau cascadorii. De
asemenea tot echipa a doua filmează de regulă scenele de explozii, distrugeri sau marile
cascade (care necesită un timp substanţial de pregătire) De aceea observaţia responsible
for filming shots of less importance nu este neparat valida (a se vedea implicarea unei
asemenea echipe – uneori multiplicată – într-un film de tip „James Bond”, în care ea este
responsabilă practic de cele mai spectaculoase imagini ale filmului)

STATUTUL DESEMNARII: Oficial

208
 SHORT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: A movie that is shorter than 45 minutes.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The concept's grammatical value is originally an adjective, but in this case it
replaces the value of the noun it is supposed to determine.

RO CORRESPONDANT: Scurt metraj

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Cinema

HYPERNYM: Movie , Picture

HYPONYM: Film, Feature Film

SYNONYM/ VARIANT: Short subject, Short film

ANTONYM: Feature

EXPANSION: Short film

CONTEXT: It's time for the short filmmaker to make money for their work and this is what
our festival is all about. Make a film. We screen shorts and features of any genre. Length
of films screened are from 10 seconds to 3 hours!

CONTEXT SOURCE: http://www.wildsound-filmmaking-feedback-events.com/film-festival-

submissions.html

CONTEXT: What the British Council does with shorts: As a poor student there was no way
I could afford to send the print out myself. The British Council handled the prints of my
shorts. They also sent me to accompany the film at festivals. This gave me the chance to
see how my films were received the world over, it also gave the chance to see amazing
shorts and features that would never be seen in the UK.

CONTEXT SOURCE: http://www.britishcouncil.org/arts-film-short-films-scheme.htm

USE AREA/ FIELD: Cinematography

209
COMMENTARY: Short film are usually independent work of film student or aspiring
filmmakers generally. This gives them close to absolute freedom of expression, morally,
artistically, aesthetically, as opposed to feature film, which are under close watch of
producers and guilds.

DESIGNATION STATUS: Official

SCURT METRAJ

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic, Marcel Martin

DEFINITIE STANDARD: Conform Legii cinematografiei româneşti, este filmul al carui

metraj echivaleaza maximum 20 de minute de proiectie.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Desi legea stabileste metrajul unui astfel de proiect, festivalurile de gen
accepta incrierea filmelor de pana in 40 de minute ca fiind scurt metraje.

CORESPONDENT EN: Short

CATEGORIE GRAMATICALA: Substantiv compus

CONCEPT GENERIC: Cinema

HIPERONIM: Film

HIPONIM: Lung metraj, Mediu metraj

VARIANTA: Scurt

ANTONIM: Lung metraj

CONTEXT: "A thousand words", este un scurt metraj foarte bun, regizat de Ted Chung.
Daca spun ca o imagine face cat o mie de cuvinte, risc sa folosesc un cliseu, dar acest
scurt metraj confirma inca o data aceasta zicala.

SURSA CONTEXT: http://scurtmetraj.com/

CONTEXT: Campania „Discriminarea romilor se învaţă acasă”, continuă prin lansarea „Doi
pe un balansoar”, un concurs de scurt metraje pe tema discriminării romilor, adresat
pasionaţilor de film şi, în special, studenţilor la facultăţile de profil.

210
SURSA CONTEXT: http://www.iaa.ro/Articole/Stiri/Concurs-de-scurt-metraje-demarat-in-
campania-sper/1080.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: In America, un scurt metraj este orice film care nu depăşeşte la proiecţia
pe marele ecran cca. 824 metri sau cca 27 de minute la filmele pe 35 mm, sau cca. 330
metri respectiv cca 11 minute la filmele pe 16 mm.

STATUTUL DESEMNARII: Oficial

211
 SHOT

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.imdb.com

STANDARD DEFINITION: 1. A single unbroken sequence of photographic film exposures,

or the digital equivalent. An unedited sequence of frames. 2. An informal photograph;
usually made with a small hand-held camera

DEFINITION SOURCE: http://en.wiktionary.org/wiki/shot

NOTA BENE: The term can also stand as a verb, determining something that was cought
on film.

RO CORRESPONDANT: Cadru

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Representation

HYPERONYM: Picture, Image

HYPONYM: Photograph, Exposure

SYNONYM: Scene

CONTEXT: The compression of time between sequences or scenes, and within scenes.
This is the most frequent manipulation of time in films: it is achieved with cuts or dissolves.
In a dramatic narative, if climbing a staircase is not a significant part of the plot, a shot of a
character starting up the stairs may then cut to him entering a room. The logic of the
situation and our past experience of medium tells us that the room is somewhere at the top
of the stairs. Long journeys can be compressed into seconds. Time may also be
compressed between cutaways in parallel editing. More subtle compression can occur
after reaction shots or close-ups have intervened. The use of dissolves was once a cue for
the passage of a relatively long period of time.

CONTEXT SOURCE: http://www.aber.ac.uk/media/Documents/short/gramtv.html

CONTEXT: Director/Producer/Writer, Robert Lynn has successfully pulled off the longest,
continuous shot in American film history with his film Adrenaline shot on a JVC GY-
HD100U. One of the main benefits of the HD100U is the compact size, perfect for quickly
maneuvering in and out of a car to follow the actor for a full 90 minutes. The 24p

212
capabilities were also a deciding technical feature to give it a film-look at an indie price.
You can see the single, long shot yourself early next year since Adrenaline got picked up
by Romar Entertainment. I suppose Mr. Lynn isn't a big fan of post-production now is he?

CONTEXT SOURCE: http://www.dvguru.com/2006/11/03/film-shot-in-one-take-with-jvc-gy-

hd100u/

USE AREA/ FIELD: Cinematography

COMMENTARY: A Dallas Shot is the slang denomination for a specific type of establishing
shot taken from the TV show Dallas, where after every scene taken on stage they would
cut an outside wide shot of a house in Texas. Another specific shot is the Mickey Rooney -
a short and slow dolly shot (travelling) named after the actor who was short and slow.
Shots with extremely long durations are difficult to do because any error in the shot would
force the filmmaker to restart from scratch. They are thus only occasionally used. Films
famous for their long cuts include Francis Ford Coppola's The Godfather in which the
entire first scene is a long take featuring Bonasera describing the assault of his daughter
( the shot is called „a Oner”, from one shot), Alfred Hitchcock's Rope that only cuts at the
end of each reel, and does so surreptitiously so that it seems as the whole film is one take.
A film that was actually a single take is the recent Russian Ark. Joss Whedon's feature film
Serenity introduces the main characters with a long take.

DESIGNATION STATUS: Official

CADRU

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

DEFINITIE STANDARD: 1.In procesul de filmare a unei scene, cadrul se refera la

imaginea instantanee inregistrata de camera de luat vederi, filmata de cele mai multe ori
cu o singura camera. 2. Spatiul ambiental iluzoriu in care se desfasoara actiunea unui film.
Cadrele sunt construite cu scopul de a sugera timpul si locul specifice evenimentelor ce
alcatuiesc firul narativ si variaza de la picturi de fundal pana la constructii detaliate ale
castelelor medievale sau orase western.

SURSA DEFINITIE: http://www.cinemarx.ro/info/dictionar/C/

NOTA BENE: Cadrul se refera de asemenea la un instantaneu decupat dintr-un film care
poate fi folosit ca poster.

CORESPONDENT EN: Shot

CATEGORIE GRAMATICALA: Substantiv

213
CONCEPT GENERIC: Reprezentare

HIPERONIM: Imagine

HIPONIM: Instantanee, Fotografie

VARIANTA: Cadru cinematografic

CONTEXT: Din colecţia de cadre nereuşite, accidentale sau respinse, turnate pentru
Cicatricea, filmul său de debut, Kielowski a creat o poveste originală a procesului de
editare din studiourile de film. O mare parte a poveştii este constituită din cadre cu editorul
filmului care emite semnale către operatorul de sunet, semnale necesare pentru
sincronizarea imagine-sunet în faza de post-producţie. Regizorul a folosit şi cadre tăiate
(un cîine care fuge de camera de filmat, un actor care face greşeli în interpretare), precum
şi cadre care nu au fost incluse în versiunea finală a filmului Cicatricea (pelicula avînd încă
titlul de lucru Omul nostru).

SURSA CONTEXT:
http://agenda.liternet.ro/articol/3503/Comunicat-de-presa/Retrospectiva-Kieslowski-si-
filmul-documentar.html

CONTEXT:
Se aude cum regizorul îşi cheamă asistenţii, un actor începe să joace după semnal - cu un
zîmbet fals, şi fiecare cadru este la fel de natural ca şi precedentele. Regizorul ne arată,
aparent accidental, culisele regiei filmului. Un cadru este prezentat din mai multe unghiuri,
ne este revelat secretul muncii actorului sau asistentului, cel care, la momentul potrivit, dă
semnalul către o maşină aflată în afara razei camerei de filmat.

SURSA CONTEXT: http://agenda.liternet.ro/articol/3507.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Cadrul este imaginea cinematografică care începe o dată cu pornirea

aparatului şi se încheie cu oprirea lui. Într-un montaj, cadrul este imaginea dintre două
„lipituri”/ „taieri”.
Cadrul intreg sau lung se refera la inregistrarea imaginii pe pelicula care include intregul
corp al atristului (din cap pana in picioare).Cadrul mobil este cel in care camera este in
miscare (cu ajutorul unui sasiu rulant, dolie etc.), impreuna, sau la aceeasi viteza cu
subiectul/ obiectul filmat.

STATUTUL DESEMNARII: Oficial

214
 SOUND STAGE

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: American Cinematographer Manual-American Society of Cinematographers,

7th Edition, U.S.A. 1993

STANDARD DEFINITION: A large, soundproof area/room in a studio used in film

production, where elaborate sets are constructed, to allow film-makers greater control over
climate, lighting, and sound, security, and spectators.

DEFINITION SOURCE: www.filmsite.org/filmterms17.html

NOTA BENE: Though it is an expensive process, working on a sound stage saves time
when setting up. As all the scenes can be filmed on the sets inside the sound stage, it also
eliminates having to move the production from location to location.

RO CORRESPONDANT: Platou de Filmare

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Construction

HYPERONYM: Set

HYPONYM: Acting stage

PARTIAL SYNONYM: Floor

VARIANT: Soundstage

ANTONYM: Silent stage

CONTEXT: The sound stages at The Walt Disney Studios are maintained to the highest
industry standards and include features such as computer-controlled access and high-
volume silent air-conditioning.

CONTEXT SOURCE: http://studioservices.go.com/production/sound_stages.html

CONTEXT: Matheson wants to transform South Portland's former National Guard Armory

215
into a fully equipped sound stage for independent and major film studios. Having long
been involved in the film industry, working on the sets of movies such as Amistad, 21, The
Cider House Rules, and many more, Matheson has dreamed of a sound stage in Maine for
a very long time.

CONTEXT SOURCE:
http://media.www.usmfreepress.org/media/storage/paper311/news/2008/11/10/
ArtsAndEntertainment/A.Sound.Stage.In.South.Portland-3537097.shtml

USE AREA/ FIELD: Cinematography

COMMENTARY: With the coming of the talkies in the late 1920s, it became necessary to
enclose the stages to eliminate noise and distractions from outside. Buildings without
soundproofing are still referred to as silent stages, and can be used where the dialog and
other sounds are recorded as a separate operation, usually by the principal actors doing a
synchronized voice over a working "cut" of the film or specialized language actors doing a
secondary language dubbing.

DESIGNATION STATUS: Official

PLATOU DE FILMARE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinematograph.ro

DEFINITIE STANDARD: Platou de forma unei hale mari, cu izolare acustică, insonorizat,
dotat cu lumini,
cu podea netedă favorabilă pentru montarea decorurilor.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Denumirea de „platouri de filmare” poate include si platourile exterioare ale
aceluiasi studio. Din franceza: Plateau

CORESPONDENT EN: Sound Stage

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Constructie

HIPERONIM: Decor

HIPONIM: Platou exterior

SINONIM: Studio, Platou izolat fonic

216
CONTEXT: Ajungem pe platoul de filmare. Coboram scarile de metal, abrupte. In fata
noastra, o structura imensa, cufundata in intuneric. Ne pare cunoscuta. Chicotim in spatele
"gazdelor" pentru ca am identificat-o: aici se filmeaza "Vrei sa fii miliardar?". Ne surprinde
incredibila izolare fonica: suntem, totusi, intr-o hala imensa, unde zgomotele ar trebui sa
fie amplificate, nicidecum atenuate.

SURSA CONTEXT: http://www.121.ro/articole/art1335-musafiri-in-familie.html

CONTEXT: Capela de la Cimitirul Bellu, transformata in platou de filmare pentru o

productie horror. In capela cimitirului Bellu din Bucuresti este pe cale sa se toarne un film
horror. Vestea i-a facut pe oficialii Bisericii Ortodoxe Romane sa ia foc, insa directorul
interimar de la Administratia Cimitirelor nu pare deranjat de acest lucru.

SURSA CONTEXT: http://www.newsreport.ro/articole/Special/2379929/Capela-de-la-

Cimitirul-Bellu-transformata-in-platou-de-filmare-pentru-o-productie-horror.html

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Castel Film si MediaPro Pictures sunt cele mai mari studiouri din
Romania: Castel Film detine acum noua platouri de filmare, dintre care unul este al doilea
ca marime din Europa. Iar studiourile MPP cuprind 20 de platouri si patru bazine pentru
filmari subacvatice si se intind pe o suprafata de circa 30 de hectare.

STATUTUL DESEMNARII: Oficial

217
 SPECIAL EFFECTS

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: A broad, wide-ranging term used by the film industry meaning
to create fantastic visual and audio illusions on set, during the actual shooting, that cannot
be accomplished by normal means, such as travel into space.

DEFINITION SOURCE: http://en.wikipedia.org/wiki/Special_effects

NOTA BENE: It is also the name of the department in charge of these type of effects.
Special effects are traditionally divided into the categories of optical effects and
mechanical effects. With the emergence of digital film-making tools a greater distinction
between special effects and visual effects has been recognized, with "visual effects"
referring to digital post-production and "special effects" referring to on-set mechanical
218
effects and in-camera optical effects.

RO CORRESPONDANT: Efecte speciale

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Modifying

HYPERONYM: Effects

HYPONYM: Visual effects

SYNONYM/ PARTIAL SYNONYM/ VARIANT: F/X, SFX, SPFX, EFX

ANTONYM: Visual Effects

ABBREVIATION: F/X, SFX, SPFX, EFX

CONTEXT: In the commercials and in "Lost in Space," a simpler special effect is used. A
collection of still cameras (for example, 30) is set up around the object. At the moment
when the action should freeze, all 30 cameras fire at once. The images they capture are
played one after another to show the rotation.

CONTEXT SOURCE: http://entertainment.howstuffworks.com/question295.htm

CONTEXT: In the movie "The Matrix," the filmmakers use an extremely sophisticated
technique to accomplish much more advanced effects. Not only does the rotation occur,
but the actor is also moving in slow motion during the rotation (see the first link below for
three extremely nice full-motion demos). At least five different special-effect techniques are
combined to create the final image.

CONTEXT SOURCE: http://entertainment.howstuffworks.com/question295.htm

USE AREA/ FIELD: Cinematography

COMMENTARY: If one film could be said to have established a new high-water mark for
special effects, it would be 1968's 2001: A Space Odyssey, directed by Stanley Kubrick,
who assembled his own effects team (Douglas Trumbull, Tom Howard, Con Pedersen and
Wally Veevers) rather than use an in-house effects unit. In this film, the spaceship
miniatures were highly detailed and carefully photographed for a realistic depth of field.
The shots of spaceships were combined through hand-drawn rotoscopes and careful
motion-control work, ensuring that the elements were precisely combined in the camera--
a surprising throwback to the silent era, but with spectacular results.

DESIGNATION STATUS: Official

EFECTE SPECIALE

219
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

DEFINITIE STANDARD: efecte produse în momentul turnării unui film cu scopul pregatirii
unor imagini deosebite, finisate in post-productie.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Efectele speciale pot fi efecte vizuale-fotografice sau efecte mecanice–
fizice, cu folosirea de miniaturi, machete, filmări cu ecran albastru, cu retroproiecţie, sau
folosirea de efecte pirotehnice .

CORESPONDENT EN: Special effects

CATEGORIE GRAMATICALA: Substantiv comun

CONCEPT GENERIC: Prelucrare

HIPERONIM: Efecte artistice

HIPONIM: Efecte Vizuale

ANTONIM: Efecte vizuale

CONTEXT: Nici un film de actiune nu ar mai fi la fel daca nu ar exista efectele speciale
care sa te faca sa simti actiunea. Chiar daca este un thriller, horror sau drama, exista
momente in film cand efectele speciale urca adrenalina provitorilor si ii tin cu sufletul la
gura. Juriul va cauta si premia creativitatea si folosirea efectelor speciale in filmele inscrise
in festival.

SURSA CONTEXT: http://www.teachersfilmfestival.ro/index.php/premii|

viewid=33&edition=2007

CONTEXT: Am hotarat atunci ca e mai bine sa fiu un bun regizor de efecte speciale decat
sa regizez lucruri care nu-mi placeau, asa ca am renuntat pentru un timp la regia de film si
m-am concentrat pe aceasta parte. Am fost primul regizor de efecte speciale din Franta,
am facut acolo primele reclame in care s-au folosit efecte speciale de amploare. si
impreuna cu Jean-Pierre Jeunet am facut primul film francez cu efecte speciale -
"Delicatessen".

SURSA CONTEXT: http://www.cinematograph.ro/ro/stiri/interviu/pitof-efecte-speciale-as-

mai-face-numai-pentru-jeanpierre-jeunet/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: In Romania, ca in multe tari europene, efectele speciale sunt deseori

confundate in limbajul general, cu efectele vizuale, desi ele sunt complet distincte.

STATUTUL DESEMNARII: Oficial

220
 STAND-IN

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Careers For Film Buffs An Other Hollywood Types, Jaq Greenspoon-, U.S.A.
2003

STANDARD DEFINITION: A person who has the same physical properties of a particular
actor, and takes their place during the lengthy setup of a scene. This allows the actor to
prepare for the filming itself.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: Not to be confused with a stunt double or a body double.

RO CORRESPONDANT: Dublura de lumina

GRAMMATICAL CATEGORY: Compound Noun

221
GENERIC CONCEPT: Actor

HYPERONYM: Compeer, Equal, Match, Peer

HYPONYM: Alternate, Double, Replacement, Stunt man

SYNONYM: Backup, Backup Man, Substitute, Fill-in, Look-alike. Light double

VARIANT: Stand In

CONTEXT: Stand-ins are the unsung heroes of movie making. While an extra will be seen
on camera, a stand-in's only role is as a photo double. That's the person who pretends to
be the actor while directors are setting up their shots. If actors had to spend the day
standing on the set, they would be too tired to do any acting.

CONTEXT SOURCE: http://www.ehow.com/how_2067002_become-actors-standin.html

CONTEXT: I had a chance to learn about this job first hand as a stand-in for Tom Courtney
during the filming of the feature "Leonard Part 6". Yes, I know the film tanked at the box
office but what the hey, it was a paycheck.
Basically a stand-in is an actor whose height, weight, skin tone, hair color, and looks are
similar to one of the leads in the film. His or her job is to temporarily replace (stand-in for)
the stars while the shot is blocked out and camera, lights, etc. are set-up. They walk
through the actions of the shot and maybe even say the lines, giving the crew a chance to
rehearse.

CONTEXT SOURCE:
http://www.suite101.com/article.cfm/psychotronic_video_film_making/73425

USE AREA/ FIELD: Cinematography

COMMENTARY: Stand-ins are helpful in the initial processes of production. Lighting setup
can be a slow and tedious process; during this time the actor will often be somewhere
else. Stand-ins allow the director of photography to light the set, the camera department to
light and focus scenes. The director will often ask stand-ins to deliver the scene dialogue
("lines") and walk through ("blocking") the scenes to be filmed. In this way, a good stand-in
can help speed up the day's production and is a necessary and valuable cast member on
a film.
Stand-ins are distinguished from body doubles, who replace actors on camera from
behind, in makeup, or during dangerous stunts. Stand-ins do not appear on camera.
However, on some productions the jobs of stand-in and double may be done by the same
person.

DESIGNATION STATUS: Official

DUBLURĂ DE LUMINĂ

LIMBA VEDETEI: Romana

222
TARA VEDETEI: ROMANIA

SURSA: www.cinemarx.ro

DEFINITIE STANDARD: Dublură/persoană care ţine locul actorului pentru stabilirea locului
faţă de cameră şi lumină.

SURSA DEFINITIE: www.media-desk.ro

NOTA BENE: Termenul provine din frantuzescul „ doublure lumière”

CORESPONDENT EN: Stand-in

CATEGORIE GRAMATICALA: Grup nominal

CONCEPT GENERIC: Actor

HIPERONIM: Corespondent

HIPONIM: Dublura de corp, Cascador

CONDITIE RESTRICTIVA: Interpretarea termenului englezesc este mai rar utilizata in

detrimentul imprumutului.

CONTEXT: Într-o după-amiază, la studiourile Raleigh, regizorul Adrian Lyne căuta o

dublură de lumina pentru un interpret principal, doar ca să poată potrivi lumina. L-a rugat
pe Kevin Costner să intre în platou şi, când l-a văzut prin aparat, a exclamat: "Băiatul ăsta
e mai bun decât interpretul meu principal".

SURSA CONTEXT: http://www.timpul.md/Rubric.asp?idIssue=512&idRubric=247

CONTEXT: Asta, pentru ca, pe langa problemele de interpretare, mai erau si orele,
nesfarsitele ore in care acel unic operator, care a fost Ovidiu Gologan, "punea lumina" pe
noi... Nu aveam dublura de lumina si de aceea multi dintre noi stateam ore in sir,
nemiscati, pentru cate un prim-plan, in asa fel, incat lumina venita din reflectoarele puse
pe noi sa dea un contur in plus chipului, un dramatism in plus personajului interpretat. Asa
se explica, zic eu, picturalitatea speciala a acestui film.

SURSA CONTEXT: http://www.formula-as.ro/2005/679/lumea-romaneasca-24/mariana-

mihut-6248

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Dublurile de lumina nu arata neaparat ca actorul pe care il inlocuiesc, dar

este important ca ei sa aiba acelasi ten si culoare a pielii, daca se poate acelasi tip de par
si sa fie construit trupeste similar. Aceste aspecte sunt parte din esenta pregatirii unei
scene in mod corect. Iata de ce: daca lumina este potrivita pe o dublura mai scunda decat
actorul, acesta poate ajunge sa aiba chipul luminat foarte slab pentru scena respectiva.

STATUTUL DESEMNARII: Acceptat

223
 STEADICAM

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: www.filmsite.org

STANDARD DEFINITION: A camera attached to a camera operator via a mechanical

harness which reduces or eliminates the unsteadiness of the operator's motion.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term also designates a hand-held camera technique using a stabilizing
Steadicam introduced in the late 70's as a trademark of the Tiffen German Company, and
thus becoming a genericized trademark/proprietary eponym.

RO CORRESPONDANT: Steadicam- One to one correspondece

224
GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Visual recording

HYPERONYM: Cameras

HYPONYM: Handycam

CONTEXT: Even though ~The Shining~ was shot during the infancy of Steadicam
technology, the Steadicam heavily influenced the production's feel, especially in exploring
the huge, ominous spaces of the Overlook Hotel.

CONTEXT SOURCE: http://www.kiwifilm.com/steadfaq.html

CONTEXT: The Fugitive~ is an excellent example of modern, non- intrusive Steadicam

technique. No scene stands out as a Steadicam shot; the Steadicam shots blend smoothly
with all of the tripod and dolly shots.

CONTEXT SOURCE: http://www.kiwifilm.com/steadfaq.html#E1

USE AREA/ FIELD: Cinematography

COMMENTARY: The resulting images of shooting with a Steadicam are comparable to

normal tracking shots on a wheeled dolly.
Examples: some early uses in Rocky (1976), in the lengthy tracking shots down the
corridors of the Overlook Hotel in Kubrick's The shining (1980), in Return of the Jedi
(1983); and the over 5-minute uncut Steadicam shot along the beach at Dunkirk in
Atonement (2007)

DESIGNATION STATUS: Official

STEADICAM

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: www.cinemagia.ro

DEFINITIE STANDARD: Suport pentru manevrat camera de filmat alcătuit dintr-un

harnaşament cu un sistem de amortizare a şocurilor şi vibraţiilor, permiţând filmarea din
mers, fără a scutura aparatul de filmat.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Termenul a devenit un substantiv comun desi el defineste un nume propiru
al unui tip de camera lansat de compania germana Tiffen.

225
CORESPONDENT EN: Steadicam

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Redare video

HIPERONIM: Camera

HIPONIM: Camera de luat vederi

CONDITIE RESTRICTIVA: Termenul este un imprumut, consecinta al faptului ca, in

Romania, acest tip de camera a fost introdus de curand.

CONTEXT: Ceea ce mi-a placut destul de mult este ca filmul are o actiune ‘real-time’,
adica timpul in care se desfasoara povestea este acelasi cu durata filmului, chiar daca tot
ce fac este sa se plimbe pe strazile Parisului in timp ce discuta (cadre foarte lungi si
inteligent facute, datorita steadicam-ului).

SURSA CONTEXT: http://frostblade.wordpress.com/category/policy-of-truth-movies/page/

2/

CONTEXT: O alta solutie este imprumutata de la asa numitul steadicam, un dispozitiv

ingenios care face ca operatorul sa mearga cu camera fara tremure imaginea (cine a mers
la un concert filmat imposibil sa nu fi vazut un operator de steady pe scena, cu un
harnasament ciudat pe el). Simplificat, e un fel de ham prins de corp, din care pleaca o tija
metalica, de care se prinde camera. Se poate folosi chiar un steadicam pentru camere
mici, dar e incomod si greu. Dezavantajul e ca panoramarile se fac din umeri, cam 45 de
grade stanga-dreapta. Avantajul e ca poti fi atent si la drum.

SURSA CONTEXT: http://www.urbanriders.ro/forum/index.php?

act=Print&client=printer&f=42&t=600

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Steadicamurile sunt folosite pentru cadre lungi, in care protagonistul

trebuie urmarit pe parcursul unui itinerariu, creand ideea de apropiere. Operatorul de
Steadicam trebuie sa dispuna de o conditie fizica deosebita pentru a purta intreg
echipamentul cat si pentru a nu permite camerei sa tremure sesizabil.

STATUTUL DESEMNARII: Oficial

226
 STORYBOARD

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: http://www.merriam-webster.com/

STANDARD DEFINITION: A sequence of pictures created by a production illustrator to

227
communicate the desired general visual appearance on camera of a scene or movie.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: A storyboard consists of illustrations, stills, rough sketches and/or captions
(sometimes resembling a comic or cartoon strip) of events, as seen through the camera
lens, that outline the various shots or provide a synopsis for a proposed film story (or for a
complex scene) with its action and characters; a blank storyboard is a piece of paper with
rectangles drawn on it to represent the camera frame (for each successive shot); a
sophisticated type of preview-storyboard (often shot and edited on video, with a
soundtrack) is termed an animatic.

RO CORRESPONDANT: Decupaj regizoral

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Plan

HYPERONYM: Drawing, Mapping

HYPONYM: Storytelling

VARIANT: Storyboards

CONTEXT: On the set of "The Empire Strikes Back," Kershner would often redo the
scenes from the storyboards, attempting to find something better on the spot.

CONTEXT SOURCE: http://www.salon.com/people/bc/1999/05/18/lucas/

CONTEXT: "George would never do that," said producer Gary Kurtz. "He'd stick to the
storyboards and fix it in the editing room."

CONTEXT SOURCE: http://www.salon.com/people/bc/1999/05/18/lucas/

USE AREA/ FIELD: Cinematography, Theatre

COMMENTARY: Most of the time, when a scene involves visual fx, stunts or special fx,
directors ask for separate storyboards for the particular scenes in order to have a better
communication with all the crew members.
There is also what is known as the shot list which planned for the entire movie ahead, and
then there are the sotryboards for the key scenes. The storyboards are drawn an illustrator
following the shot list of the director.
A common misconception is that storyboards are not used in theater. They are frequently
special tools that directors and playwrights use to understand the layout of the scene. The
great Russian theatre practitioner Constantin Stanislavski developed storyboards in his
detailed production plans for his Moscow Art Theatre performances (such as of Chekhov's
The Seagull in 1898).

DESIGNATION STATUS: Official

228
 DECUPAJ REGIZORAL

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Limbajul Cinematografic- Marcel Martin

DEFINITIE STANDARD: Decupajul regizoral este forma si continutul scriptic si cat se

poate de tehnic al filmului. Scenariul filmului este decupat de catre regizor. Aici se trec
toate detaliile de intentii, de filmare, de caracterizare a personajelor.

SURSA DEFINITIE: www.filmmaking.ro

NOTA BENE: Decupajul regizoral se poate realiza sub forma unor benzi desenate cu
indicatii alaturate, sau sub forma unor liste amanuntite asupra detaliilor de filmare ale
fiecarei scene in parte.

CORESPONDENT EN: Storyboard

CATEGORIE GRAMATICALA: Grup Nominal

CONCEPT GENERIC: Plan

HIPERONIM: Schita

HIPONIM: Decupaj, Taiere

VARIANTA: Storyboard

CONTEXT: Daca in scenariu scrie ca “Paul se spala”, in decupajul regizoral se vor nota:
cum il vom vedea pe Paul, il vom vedea gol sau nu, cat de mare este dusul, ce fel de
gresie are dusul, daca are rugina sau nu, daca personajul canta sau nu, daca este apa
fierbinte, daca ies aburi sau nu. De asemenea, se vor stabili incadraturile personajul, ce
miscari de aparat se vor face, cate ore sunt necesare pentru aranjarea unui decor in
platou, ce numar de figuranti apar in cadru, cati dintre figuranti sunt femei si cati barbati,
ce masini sunt, ce culori au, ce model, etc.

SURSA CONTEXT: http://www.videofil.ro/news/reportaje/regizorul-serban-marinescu-

ultimile-pregatiri-la-filmul-tanti-i.html

CONTEXT: Regizorul Dragoş Sandu mi-a arătat cum se face un film, operatorul de film
Carol Szellhegy a avut răbdarea de a mă învăţa cum se face un decupaj regizoral în
maniera Eisenstein, cu desene pentru fiecare secvenţă în parte. De la bătrânul fotograf
Moş Victor Gligor am deprins tainele fotografiei, prin clasa a zecea de liceu .

SURSA CONTEXT: http://www.cochinescu.ro/?s=decupaj

ARIE DE UTILIZARE: Cinematografie

229
COMENTARIU: Pentru a avea clar in cap ce si cum se va filma, regizorul decupeaza
cadru cu cadru scenariul. Decuparea se face in functie de cum vrea sa transmita regizorul
starea in secventa.

STATUTUL DESEMNARII: Oficial

SYNOPSIS

ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: Film As Art- Rudolf Arnheim University of California Press, 1957

230
STANDARD DEFINITION: A sketchy summary of the main points of an argument or
theory; A summary of the major plot points and characters of a script.

DEFINITION SOURCE: http://www.wordreference.com/definition/synopsis

NOTA BENE: From Late Latin synopsis, itself from Ancient Greek σύνοψις (sunopsis) <
σύν (sun), “‘with’”) + ὄψις (opsis), “‘view’”)

RO CORRESPONDANT: Sinopsis, One-to-one correspondence

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Mesage, Content

HYPERONYM: Statement

HYPONYM: Summary

SYNONYM: Outline, Abstracts, Precis

ANTONYM: Treatment

CONTEXT: I hate writing synopses, too. I used to hate them because the ones I wrote
sucked all the life from the novel, reducing it to bare-bones sentences that did nothing to
capture the depth of the novel itself. Now I hate writing synopses because they are much
more difficult to write than the novel ever was. It's not easy distilling 100,000-odd words
into a few pages. But it's important.

CONTEXT SOURCE: http://www.writing-world.com/publish/synopsis.shtml

CONTEXT: I think writing a synopsis can be fun. Really. I believe the reason why synopses
or suckopses are so dreaded is because they require a combination of skills rather than
just one. Skills such as "theme statements" (some people call these High Concept)(...)

CONTEXT SOURCE: http://www.kathycarmichael.com/synopsis.clearwater.fiction.html

USE AREA/ FIELD: Cinematography, Theatre, Journalism

COMMENTARY: Although the term is originally Latin, its introduction into the film-making
terminology was initially made in French. A synopsis is generally done in the maximum of a
page or two. It is then followed by a treatement and later, by a first draft of a script.

DESIGNATION STATUS: Official

SINOPSIS

LIMBA VEDETEI: Romana

231
TARA VEDETEI: ROMANIA

SURSA: http://dexonline.ro/search.php?cuv=sinopsis

DEFINITIE STANDARD: Relatarea pe scurt a actiunii desfasurate in film. Sinopsisurile

sunt date producatorilor si regizorilor atunci cand un film urmeaza sa fie facut.

SURSA DEFINITIE: http://www.cinemagia.ro/v1/index.php?page=terms&letter=S

NOTA BENE: Scris atat „sinopsis” ca in franceza cat si „synopsis”, ca in engleza. Fiind
imprumutat din ambele limbi.

CORESPONDENT EN: Synopsis

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Continut

HIPERONIM: Prezentare

HIPONIM: Sumar

SINONIM: Rezumat

ANTONIM: Scheletul scenariului

CONTEXT: Synopsis-ul poate fi scris in mai multe feluri. In stilul clasic, povestind normal,
enuntand personajele si conflictul plus deznodamantul sau poate fi prezentat eliptic.
Cateva cuvinte care sa iti agate curiozitatea.
‘Doua blonde…. un Mercedes… Un arab cu bani si un calugar.Si deja te gandesti la cum
relationeaza astia impreuna. La ce s-ar putea intampla in filmul acela? Care e finalul? Si
ma atrage sa vad filmul!

SURSA CONTEXT: http://filmmaking.ro/2008/07/synopsis/

CONTEXT: Cand dau un scenariu unui producator, el nu va citi din prima 100 de pagini ci
mai intai va citi sinopsis-ul. Daca sinopsisul il va atrageel va citi si scenariul. De asta
trebuie sa fie scris atractiv.Sinopsisul se scrie obiectiv si la timpul prezent.

SURSA CONTEXT: http://filmmaking.ro/2008/07/synopsis/

ARIE DE UTILIZARE: Cinematografie, Teatru, Jurnalism

COMENTARIU: Synopsisul este defapt rezumarea filmului in cateva randuri. Deobicei este
scris pentru promovare, pentru a stii publicul la ce se va uita sau ce va cumpara.
Este recenzia filmului, plot-ul. Se mai foloseste si in presa pentru a descrie pe scurt
actiunea filmului.
Exemplu: Taxi Driver (de Scorsese)
Un taximetrist de noapte se confrunta cu lumea interlopa, nocturna. El se indragosteste de

232
o femeie dintr-o clasa sociala mai inalta care lucreaza la campanie unui candidat
prezidential, motiv pentru care manierele lor nu se potrivesc. Taximetristul vrea sa curete
orasul de ’scursorile’ sale. Reuseste sa salveze o copila dintr-o retea de prostituate si asa
creste in ochii tuturor.

STATUTUL DESEMNARII: Oficial

TAKE

ID LANGUAGE: English

ID COUNTRY: U.S.A, U.K.

SOURCE: www.filmsite.org

233
STANDARD DEFINITION: A single continuous recorded performance of a scene.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: The term can define either a Transitive Verb or a Common Noun, but it is
specifically a Noun in film-making language.

RO CORRESPONDANT: Dubla

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Filming

HYPERONYM: Scene

HYPONYM: Retake

CONTEXT: This film was shot digitally. I actually believe that film is a better captured
medium. There are constraints with film since film is more expensive than a hard drive.
Filmmakers need limitations to capture 'Lightning in a bottle'. 50 takes in digital is not as
special as 10 takes on film. Knowing that you've got to get the shot with the film stock you
have. That is the magic folks..

CONTEXT SOURCE: http://latimesblogs.latimes.com/the_big_picture/2008/11/benjamin-

button.html

CONTEXT: One of the most perceptive explanations for Kubrick demanding so many takes
came from a recent interview with Nicole Kidman. She explained : "He believed that what it
does to you, as an actor, was that you would lose control of your sense of self, of the part
of you that was internally watching your own performance. Eventually, he felt, you would
stop censoring yourself."

CONTEXT SOURCE: http://www.visual-memory.co.uk/faq/index4.html

USE AREA/ FIELD: Cinematography

COMMENTARY: A director typically orders takes to continue until he or she is satisfied

that all of his or her requirements for the scene have been made, be they technical or
artistic. For interesting exceptions, see the trivia entries for Stagecoach, The Gold Rush,
Rope, Some Like It Hot, and The Usual Suspects. A continuity report stores the status of
each take. Of the ones that don't contain obvious errors, the director will order some to be
printed. See also out-take, hold.

DESIGNATION STATUS: Official

DUBLĂ

LIMBA VEDETEI: Romana

234
TARA VEDETEI: ROMANIA

SURSA: www.media-desk.ro

DEFINITIE STANDARD: O dublă reprezintă în esenţă filmarea unui cadru. În practica

realizării filmului de ficţiune se filmează de mai multe ori acelaşi cadru pentru a se ajunge
la performanţa maximă din toate punctele de vedere (actoricesc, tehnic, etc.)

SURSA DEFINITIE: Limbajul Cinematografic, Marcel Martin

NOTA BENE: Fiecare din variantele aceleiasi filmari poartă numele de dublă, numerele
celor găsite corespunzătoare marchîndu-se pentru a fi copiate. Din punct de vedere
morfologic, termenul poate determina un alt obiect, devenind adjectiv, dar in limbajul
cinematografic, el este subtantiv, putand fi articulat.

CORESPONDENT EN: Take

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Filmare

HIPERONIM: Secventa

HIPONIM: Reluare

CONTEXT: O secvenţă are mai multe cadre, fiecare cadru necesită aranjarea actorilor,
luminilor şi/sau a camerei pe poziţia dorită; pentru fiecare cadru se filmează una sau mai
multe duble după dorinţa regizorului

SURSA CONTEXT: www.media-desk.ro

CONTEXT: Problemele care pot aparea pentru a necesita realizarea dublelor tin de
camera de filmat, de lumina, de joc actoricesc sau, pur si simplu, pentru ca regizorul are o
alta viziune despre scena filmata.

SURSA CONTEXT: http://www.cinemarx.ro/info/dictionar/D/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: In generall regizorii opteaza pentru 2 sau 3 duble si una de siguranta.

Kubric, in schimb, tragea de la 2 la 300 de duble. Fincher avea si el minimumul lui de 50
de duble pe secventa.

STATUTUL DESEMNARII: Oficial

TRAILER

ID LANGUAGE: English

235
ID COUNTRY: U.S.A., U.K.

SOURCE: http://www.merriam-webster.com/

STANDARD DEFINITION: An advertisement for a movie which contains scenes from the
film.

DEFINITION SOURCE: www.imdb.com

NOTA BENE: Historically, these advertisements were attached to the end of a newsreel or
supporting-feature, hence the name. Doing this reduced the number of reel changes that a
projectionist would have to make.

RO CORRESPONDANT: Promo

GRAMMATICAL CATEGORY: Noun

GENERIC CONCEPT: Promotion

HYPERONYM: Ad, Advert

SYNONYM: Preview

PARTIAL SYNONYM: Featurette

CONTEXT: Earlier today, you saw the trailer for one of the most anticipated adaptations of
all time. And it was amazing. Well, I thought so, anyway, and I'm one of the few people
who said "ehh" after reading the graphic novel.

CONTEXT SOURCE: http://www.cinematical.com/2008/07/17/watchmen-trailers-spielberg-

homaging-easter-egg/

CONTEXT: According to the trailers section on the CS movie site the new trailer/TV spot to
Spielberg's War of the Worlds has been confirmed to be played during the playoffs.

CONTEXT SOURCE:
http//www.monstersandcritics.com/people/archive/peoplearchive.php/Steven_Spielberg/
news/

USE AREA/ FIELD: Cinematography

COMMENTARY: the short trailer is a teaser (first marketing element, less than 1 minute)
followed by the trailer (around 2minutes) and tv spots (less than 45sec)- there is also the
"promo reel" which is an extend trailer of less than 10 minutes used by professionals in
film markets (cuz most of buyers are too lazy to watch the whole movie!).

DESIGNATION STATUS: Official

PROMO
236
LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- lucian pricop

DEFINITIE STANDARD: Film scurt de prezentare a filmului, folosit în publicitatea filmelor,

în majoritatea cazurilor de 2 minute şi 15 secunde, fără a depăşi trei minute.

SURSA DEFINITIE: www.cinemarx.ro

NOTA BENE: Cu toate ca „promo” este echivalentul terminologic al lui „trailer”, romanii
folosesc mai des varianta englezeasca, in special in articole de presa.

CORESPONDENT EN: Trailer

CATEGORIE GRAMATICALA: Substantiv

CONCEPT GENERIC: Promovare

HIPERONIM: Reclama

SINONIM: Forşpan

EXPANSIUNE: Promovare, Promotional

CONTEXT: Britney Spears a filmat zilele astea un promo pentru showul MTV VMA 2008,
impreuna cu gazda Russel Brand… Se pare ca gazdele premiilor au iertat-o pentru
deschiderea dezastruoasa pe care le-a facut Brit anul trecut. Sau poate exact pe asta
mizeaza si in acest an, pentru publicitate!?

SURSA CONTEXT: http://www.monden.info/tv/britney-spears-a-filmat-un-promo-pentru-

mtv-vma-2008/

CONTEXT: Festivalul are un nou director artistic, prorectorul UNATC, prof. univ. dr.
Laurentiu Damian.O alta schimbare e ca in acest an festivalul tine patru zile. si ca in acest
an participa 12 tari, dar si patru scoli romanesti. Un concurs de promouri ale festivalului se
alatura sectiunilor consacrate fictiunii, documentarului, filmului de animatie, fotografiei,
scenariilor.

SURSA CONTEXT: http://www.cinematograph.ro/ro/stiri/festivaluri/festivalul-cinemaiubit-

sa-deschis-la-cinema-studio/

ARIE DE UTILIZARE: Cinematografie, Publicitate

COMENTARIU: Durata de 2 minute şi 15 secunde pentru un promo a fost aleasă în urma

unor teste constatându-se că după acest timp spectatorii începeau să se uite nerăbdători
la ceas; este cunoscut şi cu numele de forşpan după denumirea din germană; în franceză i
se spune film annonce sau bande annonce.

237
STATUTUL DESEMNARII: Acceptat

VISUAL EFFECTS

238
ID LANGUAGE: English

ID COUNTRY: U.S.A., U.K.

SOURCE: American Cinematographer Manual-American Society of Cinematographers,

7th Edition, U.S.A. 1993

STANDARD DEFINITION: A side-category of special effects; refers to anything added to

the final picture that was not in the original shot; visual effects can be accomplished in-
camera (like stop motion, double exposures and rear/front projection) or via a number of
different optical or digital post-production processes (CGI, for example), usually with a
computer.

DEFINITION SOURCE: www.filmsite.org

NOTA BENE: Visual effects are frequently integral to a movie's story and appeal. Although
most visual effects work is completed during post-production, it usually must be carefully
planned and choreographed in pre-production and production. A visual effects supervisor
is usually involved with the production from an early stage to work closely with production
and the film's director to achieve the desired effects.

RO CORRESPONDANT: Efecte visuale

GRAMMATICAL CATEGORY: Compund Noun

GENERIC CONCEPT: Modifying

HYPERONYM: Effects

HYPONYM: Special effects

PARTIAL SYNONYM: CGI

VARIANT: V.F.X.

ABBREVIATION: VFX

RESTRICTIVE CONDITION: In the U.K., the visual and special effects tend to be
considered as the same thing, whereas in the States, they are considered as opposite.

CONTEXT: Almost any Hollywood movie that you see today uses visual effects -- from the
ships in "Star Wars" to the monsters in "Godzilla," visual effects make the imaginary look
completely real! Visual effects help enhance the look of a movie or create scenery and
situations that cannot (or do not) exist in real life. The visual effects are obvious in any
science fiction film -- of course the scenes of spaceships battling one another in far-off
galaxies are not real. The only way to create these scenes is through an amazing set of
tools and technologies that let imaginary places look totally real.

CONTEXT SOURCE: http://www.howstuffworks.com/cfx.htm

CONTEXT: In the first Saw, for instance, a doctor has to saw off his own foot and leave his
239
fellow victim—chained to a rusty, old industrial wash basin—for dead in order to save his
own skin. And though the series has tried to remain true to its gritty, low-budget roots (the
first movie cost $1.2 million and grossed over $100 million worldwide), the visual effects
have gotten more complex with each installment.

CONTEXT SOURCE: http://digitalmedia.oreilly.com/2008/10/31/oh-the-horror.html

USE AREA/ FIELD: Cinematography

COMMENTARY: CGI is also perceived and translated as visual effects, but in actually
means Computer Generated Images or Imagery. The question is whether on not GCI is a
good thing or not to the modern cinema. For decades, there was no such thing as CGI,
yet, artists maganed to create makeup and animatronics and get the job done just as well.
CGI appeared in the 80's with Star Wars and gave studios freedom to create whatever
they wanted on a PC, alot cheaper but in lower quality. Transformers was one of the less
obvious Cgi modified movies. The use of computer graphics to create or enhance special
effects.

Visual effects may be divided into at least four categories:

* Models: miniature sets and models, animatronics.

* Matte paintings and stills: digital or traditional paintings or photographs which serve as
background plates for keyed or rotoscoped elements.
* Live-action effects: keying actors or models through bluescreening and
greenscreening.
* Digital animation: modeling, computer graphics lighting, texturing, rigging, animating,
and rendering computer-generated 3D characters, particle effects, digital sets,
backgrounds.

DESIGNATION STATUS: Official

EFECTE VIZUALE

LIMBA VEDETEI: Romana

TARA VEDETEI: ROMANIA

SURSA: Engleza Producatorului de Film- Lucian Pricop

.
DEFINITIE STANDARD: Modificari de post-productie pentru a căror realizare nu se
folosesc actori şi care, spre
deosebire de efectele speciale, nu se înregistrează pe timpul filmării, fiind, in mare parte,
procesate cu ajutorul computerului.

SURSA DEFINITIE: Limbajul Cinematografic- Marcel Martin

NOTA BENE: In categoria efectelor visuale intra: Modelele miniaturale/animatronice,

240
fotografia secundara/ aditionala, efectele in timp real cu ajutorul ecranelor de tip croma,
animatia digitala si grafica computerizata precum CGI

CORESPONDENT EN: Visual Effects

CATEGORIE GRAMATICALA: Substantiv compus

CONCEPT GENERIC: Prelucrare

HIPERONIM: Efecte artistice

HIPONIM: Efecte speciale

CONTEXT: Pe lânga flacari, craniul lui Ghost Rider a fost proiectat astfel încât expresiile
sale sa poata fi ajustate manual între scene. „De la scena la scena am putut sa-l facem sa
para mai furios sau mai aspru sau cum a cerut situatia”, spune Mack.
Mack descrie filmul ca un „festin de efecte vizuale”. Printre secventele sale preferate se
afla scena în care Johnny Blaze sare cu motocicleta peste un teren de fotbal. „În timp ce
stadionul si una dintre rampe erau reale, arena era complet goala”, spune Mack.
„Motocicleta, motociclistul, spectatorii si cele sase elicoptere Black Hawk peste care sare
sunt toate generate pe calculator.”

SURSA CONTEXT: http://www.cinemarx.ro/filme/Ghost-Rider-Demon-pe-doua-roti-Ghost-

Rider-Hellcycle-si-Efectele-Vizuale-9605,6130,0,3552.html?articol

CONTEXT: Fire and Ice: Cronica dragonilor, prima co-producție românească cu efecte
vizuale, din 23 ianuarie pe DVD: Fire and Ice 2De la Armageddon și Titanic, producătorul
efectelor speciale, Evan Jacobs, alături de cunoscutul regizon Pitof, au adus scenariul
producției Fire and Ice: Cronica dragonilor pe platourile din România. Primul film pentru
care au fost realizate CGI (Computer Generated Imagery), unele dintre cele mai
spectaculoase efecte vizuale realizate in exclusivitate in Romania, va putea fi vizionat din
23 ianuarie pe DVD .

SURSA CONTEXT: http://www.cinemarx.ro/stiri-cinema/fire-and-ice-cronica-dragonilor-

prima-co-produc%C8%9Bie-romaneasca-cu-efecte-vizuale-din-23-ianuarie-pe-dvd/

ARIE DE UTILIZARE: Cinematografie

COMENTARIU: Primele efecte de grafica computerizata ( CGI) s-au folosit în filmul SF

Futureworld – 1976, iar în 1981 s-a creat prima figură umană prin CGI, în filmul SF al lui
Michael Crichton – Looker. Primul personaj tridimensional (3D) creat prin CGI a fost
creatura subacvatică extraterestă din filmul Abyss

STATUTUL DESEMNARII: Oficial

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A computer generated image ( CGI ) from the 2005 King Kong version

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 III. CONCLUSIONS

1. THE OPTION FOR A GLOSSARY ON FILMMAKING

Film-terms are usually lacking clarity to the avarage person. If one decides to get familiar
with the movie making art form and the techniques of cinema, one must understand the
fundamental vocabulary and language of film studies. This glosarry is where some of the
most basic and commonly used terms are defined. The definitions are clarifying for what
may often seem as complex terms at the baseline of media processes.
This, unfortunately, is not a complete collection of film-making terms, because of several
reasons, either objective or subjective. On the more objective side, I have chosen the less
obscure of film terms and the higher in explanatory factor. On the other hand, I must admit
to the personal implications of conducting this entire documentation project, and that is my
personal involvement in the industry and the fondness to distincitve words which got to my
ears in the first months of practice. These are the words that any first-timer will need to
know to ease the stress of feeling like an outsider in any department connected to
filmmaking.
This listing should provide enough background for a majority of the important terms, and
prompt both the reader and myself to research them further. When discussing film and the
creative craft of filmmaking, many of these terms are used to describe the complicated and
expensive process or task of making movies - from conception to finished product.

2. GLOSSARY CONTENT

The body of the filmmaking glossary is made up of 150 entries, specifically 75 acurrate
and actual English concepts, and 75 of their Romanian interpretations ( exact translation,
one-to-one correspondences, loans, partial loans.

As mentioned in the introduction of the glossary, the Romanian film industry has
encountered quite a few troubles in developing alongside other European and American
industries. It is for this reason why, several of the 75 Romanian concepts have more or
less the same form as their English orrespondants.

I have tried and, hopefully succeeded to include descriptive and relevant terms of all the
multiple areas of film-making, such as : kinds of filmmaking equipment (Steadicam, crane,
boom michorphone, dolly etc.), the basic stylistic information concerning camera shots and
art direction (focus pulling, depth of field, close-up etc.), various slang terms (blooper, b-
movie, magic hour, martini shot etc.), the main movie crafts of screenwriting, directing,
editing and the personnel involved along the process ( director, producer,
cinematographer, foley artist, production assistant, location manager etc.).
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 3. GLOSSARY DEVELOPMENT CHALLENGES

Considering how the links between concept and meaning are not always preserved when
translating from one language to the other, this may occurs as a tricky situation when
trying to find exact equivalencies.

For example: the English concept „montage” is a French loan. Originally, in French, it
determined assembling shots in a chronological fashion, in order to obtain a coherent
narrative structure (i.e. editing). English, on the other hand, although borrowing the
concept, it used it to define an editing technique in which things happen faster, perhaps on
an entertaining soundtrack, in order to show the development of things or characters in an
amount of time which would be impossible to follow for a shooting schedule unless one
would be shooting live footage. For the final matter, the Romanian interpretation of the
English „montage” and the exact translation is not what one would think it would be, which
is „ montaj”. It is actually „colaj*, the representant of the abome mentioned editing
technique. Therefore, the Romanian concept is a French loan, defining an English
concept.

The other main issue with assembling this glossary was the fact that, even though I had a
clear picture of what each of the English concepts illustrated- in accordance to what the
Romanian tendencies of using filmmaking terminology are, meaning loaning most of the
English one- I found it hard to, first of all come up with logical translation, then second of
all, to make out which of the researched translations and interpretations were propper.

4. SOLUTIONS

In order to straighten most of the issues I came across, I resorted to the help of specialists
which I have been previously introduced to the film industry by.

They were:

 ALEXANDRE AJA- French Director, Producer, Screenwriter

 CHRIS LANDRY- American First Assistant Director, Line-Producer

 GABRIEL KOSUTH- Romanian Cinematographer

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 IV. REFERENCES

1. BIBLIOGRAPHY:

 Engleza Producatorului de Film- Lucian Pricop

 Cinema 1/The Movement-Image, Gilles Deleuze , 1986
 Cinema 2/The Time-Image, U.K, Gilles Deleuze, 1989
 Histoire du cinema mondial-des origines a nos jours, Geaorges Sadoul, 1961

 Nathan Abrams, Ian Bell and Jan Udris-, 2001

 American Cinematographer Manual-American Society of Cinematographers, 7th
Edition, U.S.A. 1993
 Careers For Film Buffs An Other Hollywood Types, Jaq Greenspoon-, U.S.A. 2003
 Cinematic Storytelling- Jenniffer Van Sijll, 2005
 Film As Art- Rudolf Arnheim University of California Press, 1957
 The Manual Of Photography, Jacobson, Ray, Attridge & Axford Focal Press, New
York, 7th Edition, 1978
 The Missing Reel / The Untold Story Of The Lost Inventor Of Moving Pictures
 Christopher Rawlence, Atheneum, New York, 1990
 The Kinetoscope / America's First Commercially Successful Motion Picture Exhibitor
 Gordon Hendricks
 The Motion Picture / From Magic Lantern To Sound Film
 Julius Pfragner, London, 1974
 A History Of The Cinema From It's Origins To 1970
 Eric Rhode New York, 1976
 The History of The Discovery of Cinematography Paul T Burns.
 Konigsber, Ira. The Complete Film Dictionary. New York:Penguin
 Douglas Gomery, Shared Pleasures: A History of Movie Presentation in the United
States (London: BFI, 1992).
 Nicholas Garnham, Emancipation, The Media and Modernity: Arguments about the
Media and Social Theory (Oxford: Oxford University Press, 2000
 Cinema... un secol si ceva - o istorie cronologica a cinematografului mondial ( C.
Corciovescu, Bujor T. Rapeanu )

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  Limbajul Cinematografic- Marcel Martin
 Tehnica Filmului de la A la Z, Alexandru Marin, 1979
 Tehnica fotografierii şi aparatura de filmare, Paul Alexandrescu, Alexandru
Petculescu, Iuliu Popescu, 1973
 The Sage's English Dictionary and Thesaurus

2. WEBLIOGRAPHY:

 http://en.wikipedia.org/wiki/History_of_film
 http://www.precinemahistory.net/
 http://www.geocities.com/Axiom43/cinematerms.html
 http://www.lancs.ac.uk/staff/mladww/fren233/233%20cinematic%20terms.doc
 http://modernlanguages.louisville.edu/spanish/classes/lafilm/glossary.pdf
 http://cepa.newschool.edu/~schlemoj/film_courses/glossary_of_film_terms/
glossary.html
 http://www.deep-focus.com/dfweblog/2007/11/aspect_ratios.html
 http://www.cinemarx.ro/info/dictionar/
 http://www.cinematographers.nl/
 http://www.merriam-webster.com/
 http://www.cinematograph.ro
 http://www.cinemagia.ro
 http://www.dexonline.ro
 http://www.earlycinema.com/technology/cinematographe.html
 http://www.filmmaking.ro
 http://filmmaking.ro/2008/10/microfoane-pentru-film/
 http://www.britannica.com/EBchecked/topic/394161/history-of-the-motionpicture/
52151/Nontechnical-effects-of-sound
 http://en.wikipedia.org/wiki/Cinema_of_Romania
 http://altmariusfilm.weblog.ro/2008-02-22/294948/Dictionar-cinematografic
 http://www.imdb.com

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