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Abrams, M. H. & Harpham, G. G. (2012). A Glossary of Literary Terms, Tenth Edition. Boston, MA: Wadsworth, Cengage learning.
Alberstat, Philip (2004). The Insider’s Guide to Film Finance. Focal Press.
Austin Community College. (2014). Glossary. Retrieved 2017, November 28, from http://www2.austincc.edu/sbramme2/Glossary.htm
BFI Screenonline. (2014). Glossary. Retrieved 2017, November 28, from http://www.screenonline.org.uk/education/glossary.html
Bal, M. (2009). Narratology: Introduction to the Theory of Narrative. Toronto; Buffalo; London: University of Toronto Press.
Baldick, C. (2001). The Concise Oxford Dictionary of Literary Terms. New York, NY: Oxford University Press Inc.
Barnwell, Robert G. (2019). Guerilla Film Marketing. Focal Press, Routledge, New York: Tyler&Francis.
Barthes, R. (1966). Introduction à l’analyse structurale des récits. Communications 8, 1–27.
Bordwell, David: Principles of narration. In: Philip Simpson ... [et al.] (eds.): Film theory: critical concepts in media and cultural studies. Vol. 2. London [etc.]: Routledge, 2004, 5. 245-267. [Ursprünglich in: David Bordwell: Narration in the fiction
Browne, Steven E. (2007). High Definition Postproduction: Editing and Delivering HD Video. Focal Press, Elsevier.
Burgoyne, S., & Downey, P. (2012). Thinking Through Script Analysis. Newburyport, MA: Focus Publishing, pp. 207-212.
Chatman, S. (1990) Coming to Terms: the rhetoric of narrative in fiction and film. Ithaca, NY: Cornell University Press.
Costello, J. (2004). Writing a Screenplay. Harpenden, UK: Pocket Essentials, pp. 157-160.
Cuddon, J. A. (1999). Penguin Dictionary of Literary Terms and Literary Theory. Harmondsworth, UK: Penguin Books.
Dancyger, K & Rush, J. (2013). Alternative scriptwriting: beyond the Hollywood formula. Burlington, MA: Focal Press.
Dictionary of Media Studies (2006). London: A & C Black.
Dictionary.com
Dirks, Tim (2019). Film Terms Glossary Illustrated. AMC Filmsite. https://www.filmsite.org/filmterms.html (retrieved 26.01.2019)
Donaldson, Michael C. ; Callif, Lisa A. (2014). Clearance & Copyright (4th edition). Silman-James Press.
Egri, L. (1960). The art of dramatic writing: its basis in the creative interpretation of human motives. New York, NY: Simon and Schuster.
FIAF (2019). International Federation of Film Archives. Glossary of Filmographic Terms.
FILMTERM. Tallinna Ülikooli Balti filmi, meedia, kunstide ja kommunikatsiooni instituudi filmikunsti terminikomisjon. Veiko Vaatmann, Elen Lotman, Margit Keerdo-Dawson, Jaak Lõhmus, Greta Varts, Margit Maran, Kristiina Davidjants, Hagi Šein
Field, S. (1984). Screenplay: the foundations of screenwriting. New York, NY: Bantam Dell.
Film-North (2009). Glossary. Retrieved 2017, November 28, from http://afronord.tripod.com/glossary.html
Fludernik, M. (2009). An Introduction to Narratology. London; New York: Routledge.
Friedmann, J., & Walker, C. (2012). The Insider's Guide to Writing for Television. Richmond, UK: Trotman, pp. 261-270.
Golden, L. (1973). The Purgation Theory of Catharsis. The Journal of Aesthetics and Art Criticism, 31(4), pp. 473-479. DOI: 10.2307/429320
Griffiths, K. (2015). The Art of Script Editing: A Practical Guide to Script Development. Harpenden, UK: Kamera Books, lk.180-206.
Grove, E. (2009). Raindance Writers' Lab: Write + Sell the Hot Screenplay. Oxford, UK; Burlington, MA: Focal Press, pp. 251-258.
Gulino, P. J. (2004). Screenwriting: The Sequence Approach. New York, NY; London, UK: Continuum.
Haddad, M. (2005). The Screenwriter’s Sourcebook: A Comprehensive Marketing Guide for Screen and Television Writers. Chicago, IL: Chicago Review Press, pp. 339-344.
Herman, D. (2009). Basic Elements of Narrative. Chichester, U.K.; Malden, MA: Wiley-Blackwell.
Hiltunen, A. (2002). Aristotle in Hollywood: The Anatomy of Successful Storytelling. Bristol, UK: Intellect Books.
Honthaner, Eve Light (2010). The Complete Film Production Handbook (Fourth Edition). Focal Press, Elsevier INC.
Howard, D & Mabley, E. (1993). The Tools of Screenwriting: A Writer's Guide to the Craft and Elements of a Screenplay. New York, NY: St Martin's Press.
Hühn, P. (2011). Event and Eventfulness, Paragraph 1. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/event-and-eventfulness
Iglesias, K. (2005). Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, and Fascinate the Reader from Beginning to End. Livermore, CA: WingSpan Press.
International Screenwriters' Association. (2017) Guides & Resources. Glossary for Screenwriting Terms. Retrieved 2017, November 28, from https://www.networkisa.org/links-resources-type.php?id=20
Jack, Keith; Tsatsulin, Vladimir (2002). Dictionary of Video and Television Technology. Elsevier Science (USA).
James, L. M. (2009). How to Write Great Screenplays and get them into Production. Oxford, UK: How To Books, pp. 177-184.
Kellison, Cathrine (2006). Producing for TV and Video A Real-World Approach. Focal Press.
Laszlo, Andrew (2000). Every Frame a Rembrandt Art and Practice of Cinematography. Focal Press, Elsevier.
Lavandier, Y. (2005). Writing Drama: A Comprehensive Guide for Playwrights and Scriptwriters. France; Le Clown & L'enfant. lk. 533-547.
LoBrutto, Vincent (2002). The filmmaker’s guide to production design. New York: Allworth Press.
Lothe, J. (2000). Narrative in Fiction and Film: An Introduction. New York, Ny: Oxford University Press.
Mamer, Bruce (2009). Film Production Technique: Creating the Accomplished Image, Fifth Edition. Wadsworth, a part of Cengage Learning.
Maran, Margit (2007). Filmiterminid ajakirjas
Margolin, U. (2012). Narrator. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narrator
Marich, Robert (2013). Marketing to moviegoers. Southern Illinois University Press/ Carbondale and Edwardsville.
Marks, D. (2009). Inside Story: The Power of the Transformational Arc: The Secret to Crafting Extraordinary Screenplays (Professional Media Practice). London, UK: A & C Black Publishers Ltd., pp. 329-334.
McKee, R. (1997). Story: Substance, Structure, Syle, and the Principles of Screenwriting. New York, NY: HarperCollins.
Meister, C. J. (2011). Narratology. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narratology
Merilai, Arne; Saro, Anneli; Annus, Epp (2003). Poeetika. Gümnaasiumiõpik. Tartu: Tartu Ülikooli kirjastus.
Niederhoff, B. (2011). Focalization. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/focalization
Pavis, Patrice; Shantz, Christine (1999). Dictionary of the Theatre: Terms, Concepts, and Analysis. University of Toronto Press, Scholarly Publishing Division.
Pier, J. (2011a). Narrative Levels. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narrative-levels-revised-version-uploaded-23-april-2
Pier, J. (2011b). Metalepsis. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/metalepsis-revised-version-uploaded-13-july-2016
Prince, G. (1971). Notes toward a Characterization of Fictional Narratees. Genre 4, 100–05. Artikli vormistus
Prince, G. (1987). A Dictionary of Narratology. Lincoln; London: University of Nebraska Press.
Prince, G. (2011). Reader. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/reader
Rabiger, Michael (2008). Directing Film Techniques and Aesthettics [Fourth Edition]. Focal Press, Elsevier.
Rahmel, Dan (2004). Nuts and Bolts Filmmaking Practical Techniques for the Guerilla Filmmaker. Focal Press, Elsevier.
Reeve, J. (2008). Understanding Motivation and Emotion. Hoboken, NJ: Wiley.
Riley, C. (2005). The Hollywood Standard. The Complete and Authoritative Guide to Script Format and Style. Studio City, CA: Michael Wiese Productions.
Rizzo, Michael (2005). The Art Direction Handbook for Film. Focal Press, Elsevier
Schmid, W. (2013a). Implied Author. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/implied-author-revised-version-uploaded-26-january-2
Schmid, W. (2013b). Implied Reader. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/implied-reader
Schmid, W. (2013c). Narratee. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/narratee
Schönert, J. (2011). Author. In Hühn, Peter et al. (Eds.): the living handbook of narratology. Hamburg: Hamburg University. Retrieved 2017, November 28, from http://www.lhn.uni-hamburg.de/article/author
Screenwriting.info (2017). Glossary. Retrieved 2017, November 28, from http://www.screenwriting.info/glossary.php
Scriptreaderpro
Sherborne, M. (2005). Nineteen Eighty-Four: York Notes Advanced. London: Longman, York Press.
Simon, Mark (2007). Storyboards, Motion in Art [Third Edition]. Focal Press, Elsevier.
Snyder, B. (2005). Save the Cat!: The Last Book on Screenwriting You'll Ever Need. Studio City, CA: Michael Wiese Productions.
TV Tropes. Pet the Dog. Retrieved 2018, May 19, from http://tvtropes.org/pmwiki/pmwiki.php/Main/PetTheDog
Tapply, W. G. (2000). The Elements of Mystery Fiction. Scottsdale, AZ: Poisoned Pen Press.
Tierno, M. (2002). Aristotle's Poetics for screenwriters: storytelling secrets from the greatest mind in western civilization. koht: Hachette Books.
Truby, J. (2007). The Anatomy of Story: 22 Steps to Becoming a Master Storyteller. New York, NY: Faber and Faber.
Truffaut, F. (1983). Hitchcock. Dialogue between Truffaut and Hitchcock. New York: Simon & Schuster, Inc.
Uva, Michael G. (2014). The Grip Book [Fift Edition]. New York, London: Focal Press.
Vogler, C. (2007). The Writer's Journey: Mythic Structure for Writers. Studio City, CA: Michael Wiese Productions.
WGGB (2009). Writing Film: A Good Practice Guide. London, UK: Writers' Guild of Great Britain. Retrieved 2017, December 13, from https://writersguild.org.uk/wp-content/uploads/2015/02/WG_film_Oct09_LR.pdf
Wales, Lorene M. (2017). The Complete Film and digital Production (Third Edition). Focal Press, Routledge.
eForeword (2002). In: Forster E. M. Aspects of the Novel. RosettaBooks, LLC.
Б. Томашевский. Теория литературы. (Поэтика). Л., 1925, с. 137.
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C-stand
–
(
century stand
),
C-stand
c/omission
–
Cable person
– 1)
2)
Calendar house
–
calibration
–
call and response
–
Call back
–
call sheet
– 1)
võttepäeva plaan
2)
Call sheet
–
Call Time
–
call to action
– vt
inciting incident
call to adventure
– vt
inciting incident
Call-to-Action
–
Callback
–
Calling tree
–
cameo
–
camera angle
–
rakurss
Camera Car
–
camera log
–
camera movement
–
kaamera liikumine
camera operator
–
kaameraoperaator
Camera operator
–
camera original
–
Camera package
–
camera report
–
kaameraraport
Camera Report
–
camera scenic
–
platsimaalija
Camera Tape
–
camouflage make-up
–
kamuflaažjumestus
Campaign
–
can
–
cancellation
–
candela
–
kandela
canned
–
canon
–
canted framing
–
viltune kadreering
,
viltune kaader
,
viltune horisont
capacitor microphone
–
capacity
–
caption
–
Captions
–
capture
–
capture card
–
CARA (Classification and Rating Administration)
–
card
–
card (screenwriting)
–
ekraanitekst
card model
–
(
white model
),
eskiismakett
cardioid microphone
–
caricature
–
karikatuur
cartooning
–
kartooni tegemine
Case citation
–
Cash advance
–
cash cow
–
Cash flow
– 1)
rahavoog
2)
rahavoog
Cash flow worksheet
–
Cash rebate
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cast
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