I thought it might be useful to see examples of some of the various cinematic techniques we will be getting familiar with. These are not going to be essays that help understand the effects of these techniques, but should help you get more familiar with the techniques themselves.

Shots / Framing

Establishing Shot
This is a series of establishing shots from the film 21 which establish the glitz and vibrance of Las Vegas when it is fully lit up.

Long Shot
We see the entire person or object from a distance.
Medium Shot
We see half the person (waist up) or object from nearer distance
Close-Up
We see an entire thing that fills nearly all of the frame, for instance, a entire face.
Extreme Close-Up
The entire screen is filled with the thing and we are focused on only part of it (the example here isn't great, really. A better example would have shown just the eyes)

Two Shot
We see a series of two shots here. Although they are all over-the-shoulder, we would still consider them two shots, as we see two people in the frame. 

Camera Angles

Eye Level
A majority of these shots are from Danny's eye level. Because he is a little boy, this means that the camera is much lower to the ground. As a result, we see the world as we see it.

High Angle
This clip actually starts with an eye-level two shot, but soon we see a high angle being used. This is shot from Carla's perceived angle. Notice, however, that we just saw that she and the delivery guy are about the same height; by showing the delivery guy using a high angle, he appears smaller, weak, and submissive.

Low Angle
When the low angle is used, we appear to be looking up to Carla. She is a towering presence, clearly far stronger and more in control of the situation. 

Lighting

Low Key
There are a variety of low key examples here, with a delightfully chipper guy explaining them. Note that low key light often creates highlights, bright light sources that stand out from the general gloom of the scene. Do not confuse highlights with high key lighting.

High Key
This example starts with a two shot of the characters in a high key lighting scene. There is an abundance of light, which allows us to see the colors of the scene, clearly make out their environment, and see the character's expressions. The clip ends with low key lighting. Not how significantly the mood changes as a result and how our ability to see and understand (what's happening, what they are feeling, etc) changes as the light does.

Side Lighting
This is a little low-fi, as the clip is a recording of a recording, but it includes many examples of side lighting with annotations. Bottom lighting works similarly (although, obviously, with light coming from below).

Back and Front Lighting
For the life of me I could not find a good example of this in film that included only what I wanted, so this is a video example for photography. The principle is still the same. Front lighting provides a pretty even light that does not obscure the features of the person/object in focus, whereas back lighting totally obscures it, generally creating harsh lighting along the person/object's back edges.

Camera Movements

Pan
We see the camera turning from one side to another. The camera's location does not change (it does not go forward/back/up etc), it only turns.
Crane shot (also called a boom shot when not going as high)
The camera moves vertically, gaining elevation. This can also be a camera that starts high and moves lower.
Tracking Shot (also called a Dolly shot when camera is on a cart)
Here the camera moves through the action, following what is happening. If the camera is moving left, right, forward, or back, it is a tracking or dolly shot.
 

Tilt
The camera tilts downward, creating a sense of scale that makes this shot (and the chase that follows) feel epic. The camera might also tilt from bottom to top. Note that like pan, the camera location doesn't change. A tilt shot absolutely can have a camera that is moving, but you would include the movement in its description: a tracking tilt shot.

Editing

(this video has a BUNCH of more specialized cuts. If you use these, you will show mastery of editing analysis)
Cross Cut
The first of our terms in this video, we see two scenes occuring at once but in different locations.
Fade
A fade is a fade. Go to white or black, or go FROM white or black.
Dissolve
Great examples that cover a variety of affects.
Wipe
SO MANY WIPES

Eye Line Match
There are two eye-line matches here, each show from Marty's angle as he looks over to the back of the truck. We see him looking off camera and the eye-line match shows us what he is looking at (usually from the character's angle).

Shot-Reverse-Shot
This conversation between Katniss and Peeta alternates looking at each character.

Sound

Both Diegetic and Non-Diegetic sound is covered here.

So that's all our basic techniques, for the most part. There are MANY more, and some of these videos explored those techniques. If you can use some of these more specialized techniques in your analysis, you may be able to show a truly uncommon skill in the analysis for this unit.