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Question
In a short essay, discuss the importance of new subgenres and the mixing of genres to changes in genre conventions, drawing on examples from class readings and screenings.
Answer
Answers will vary
Related questions
Q:
Among the major factors that contributed to the decline of the French New Wave in the late 1950s was the A. spread of television. B. resentment of the French government. C. rise of Neorealism. D. failure of directors to help one another absorb financial risk.
Q:
Expressionism, Impressionism, and Surrealism were all finished as film movements by about
A. 1910.
B. 1920.
1930.
D. 1940.
Q:
Louis and Auguste Lumire A. developed a peep-show machine for exhibiting bawdy short films. B. used the Black Maria studio to capture and analyze animals' movements using glass plates of film. C. held one of the earliest public presentations of films projected on a screen in Paris in 1895. D. were assistants to Thomas A. Edison and invented the Kinetoscope.
Q:
Discuss the current relationship between Hollywood and independent filmmakers. Consider the current role of tentpole films, star-driven comedies, film festivals, genre projects, prestige pictures, blockbusters, "Oscar bait" films, and Mumblecore. How do these kinds of films all work together to form the current state of the film industry? What are the main factors that influence the industry today?
Q:
Bruce Lee was an American that moved to Hong Kong to make martial arts films.
Q:
American blockbusters in the 1970s included few major established stars.
Q:
Many scholars believe that cinema actually benefited from the fact that it emerged as a solely visual art form before the development of synchronized sound filmmaking.
Q:
Describe how animation differs from live-action filming. Explain the common types of animation and give examples of each.
Q:
Animated documentaries are usually instructional films.
Q:
Experimental films are also known as avant-garde films.
Q:
Olympia, Helvetica, and Gap-Toothed Women are examples of documentaries that use categorical form.
Q:
Directed by Chuck M. Jones in 1953, ______, with its experimental feel, is considered one of the masterpieces of American animation. A. The Scarlet Pumpernickel B. Snow White and the Seven Dwarfs C. Duck Amuck D. Fantasia
Q:
Which of the following is NOT one of the three closely related categories of three-dimensional object animation?
A. Claymation using Plasticine
B. Model animation using puppets
C. Pixillation with ordinary objects or people
D. Illustrative animation using collage
Q:
Railroad Turnbridge, Scorpio Rising, and Ballet mcanique are all examples of
A. experimental film.
B. rhetorical form.
C. direct cinema.
D. found footage.
Q:
A "direct-cinema" documentary is one
A. in which the director stages the action.
that records real events as they happen.
C. consisting mainly of interviews.
D. made up entirely of archival footage.
Q:
Briefly describe how ideas about genre are used by people within the film industry, by film reviewers, and by ordinary moviegoers.
Q:
Select any film genre that has been discussed in this course. Provide two examples of conventions that are significant to the genre. Now cite two specific scenes from films that provide examples of innovative handling or unique adaptation of those conventions.
Q:
The Fred Astaire-Ginger Rogers film Swing Time is an example of the backstage musical.
Q:
The term subgenre refers to
A. inferior examples of a genre.
distinct types within a genre.
C. subversive examples of a genre.
D. genres from foreign countries.
Q:
Film scholars argue that genre conventions, repeated from film to film,
A. indicate continual studio worries about profits.
B. reflect actors' and producers' resistance to change in film technology.
C. result in audience boredom and demand for innovative ideas.
D. reflect audience doubts or anxieties and therefore vary with history.
Q:
What does it mean for style to function perceptually? What are some aspects of this quality? Give an example from Citizen Kane.
Q:
What are some of the things that should be looked for when determining the organizational structure of a film?
Q:
If a character speaks, the viewer expects to hear diegetic sound that is faithful to the source.
Q:
Nondiegetic sound is the same as synchronous sound.
Q:
Film sound can include any mixture of noise, music, and speech.
Q:
Rhythm involves what aspects? A. Beat or pulse B. Tempo or pace C. Accents with patterns of stronger and weaker beats D. All of the answers are correct.
Q:
When the king puts on headphones in The King's Speech, what kind of sound do we hear?
A. Off-screen restricted sound
On-screen restricted sound
C. Off-screen voiceover
D. On-screen voiceover
Q:
Ambient sounds are the sounds that
A. are added to the mix in post.
B. are added to dialogue scenes to make them more crisp.
the natural sounds in the background of a scene when it's recorded.
D. are mistakes made by the musicians while recording the soundtrack.
Q:
A sound bridge is categorized as
A. simultaneous sound.
B. nondiegetic sound.
diegetic sound.
D. lacking fidelity.
Q:
The prologue of Orson Welles's The Magnificent Ambersons
contains a rare example of characters seeming to hear a nondiegetic narrator.
B. contains a rare example of a nondiegetic on-screen narrator.
C. consists of a lengthy soliloquy using internal diegetic sound.
D. includes a scene where violins are used to simulate a woman's screams.