Explain briefly the Grammar of Film

Since the film is not a language of words, the smallest unit in film may be the shot. If we  consider some basic film grammar elements  to be shots, camera angles, camera movements, and transitions then each element could have the following modifiers:

Shots - close-up, medium, medium close-up, full, master, single, two-shot, reverse, point-of-view (POV), over-the-shoulder (OTS)

Camera movement - static, fluid, hand-held, dolly, pan, tilt, tracking, zoom, or crane

Camera angle - high-angle, low-angle, Dutch angle, or overhead

Transition – dissolve, fade, cut, jump cut, match action cut

Bazin had identified potential grammatical elements of the language of film when he discussed the following film techniques as useful for recording reality:

Deep focus –depth-of-field where everything in the frame is in focus

Long take – as opposed to short takes, which are edited together

Camera Movement – motion of camera during the shot

Mise-en-scene (French term "to put in the scene”) -  Everything that is required to communicate the shot.

New Shot (New Information) – Don’t use a shot unless it provides new information to the story. 

Screen direction – Don’t cross the eye line and make sure characters enter and exit from appropriate sides of the frame.

Cut on Action – To hide an edit, cut on a movement or action in the shot.

Match Your Shots – Try to cut between shots that match in focal length and frame size.

Cut Moving to Moving, Still to Still – When making cuts, avoid cutting from a moving shot to a still shot.

Find a Compositional Link – Find an element that provides visual continuity between shots.

Manipulating Time – Shots can be set up to condense time quite differently from time in reality.

Respect Silence – Use silence where it is most powerful.

Set the Pace – Set the pace of the film with your cuts and transitions.

The above rules are a good example of the types of film grammar that have developed over the last hundred years along with the language of film.