T.G321

Analepsis: flashback.

• Prolepsis: flashforward.

Bridging shot: a shot inbetween a jump cut, that tries to give the impression of continuity, even though the jump cut has created a break in time. 

Deuteragonist: the second most important character.

Diegesis: a narrative's created universe.

Discourse: the manipulation of the story in the representation of a narrative.

• Story: the chronological order of the events in a narrative.

Fabula: the chronological order of the events in a narrative.

• Sjuzhet: the representation of the events in a narrative, through elements such as metaphors, and camera angles. 

Frame narrative: a story within a story – a "framed story". 

Hermeneutic codes: using unanswered questions to create suspense.

• Proairetic codes: using the anticipation of an unanswered question's resolution to create suspense. 

In medias res: beginning in the middle, rather than the start of a story. (Latin for "in the midst of things".) 

Match cut: cutting from a shot to a seemingly unrelated shot, with the composition of the frames remaining similar. (Also called a graphic match.)

Gérard Genette's three diegetic levels:

• Extradiegetic: the level of the conventional narrator, who is not part of the story being told.

• Diegetic (or intradiegetic): the level of the characters.

• Metadiegetic (or hypodiegetic): a story within a story, for example when a diegetic narrator tells a story.

Objective treatment: the audience is presented with what is in front of the camera as an independant perspective, i.e. not from the point of view of a specific character.

Scopophilia: referring to a character, typically a male, gazing at another character, impying objectification of the character being looked at. (Literally, "the love of looking".)

Shock cut: the juxtaposition of two radically different shots, intended to shock the audience.

Subjective treatment: the audience views the narrative from the perspective of a specific character, i.e. from a point-of-view shot.

Suture: techniques used to encourage the audience to view the film from the character's perspective, as opposed to the camera's. Laura Mulvey suggests that there are three views presented by film: the view of the audience, the view of the camera, and the view of the characters in the film. 

Third-person omniscient narration: a third-person narrator, who has an all-knowing perspective of the narrative. Such a narrator will not immediately reveal all information to the audience, allowing the hermeneutic code to continue to contribute to the overall suspense. 

Unreliable narrator: a narrator who voices an opinion, rather than fact, or otherwise gives the audience unreliable information.(?)

Voice-over narration: a narrator giving information about the events being presented to the audience.