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Question
In 2015, almost 90 percent of the top 100 U.S.-grossing films were shot digitally and 100 percent of those films were edited and otherwise prepared for release digitally. However, there is a small but significant opposition to shooting digitally on the creative side from directors and cinematographers, in particular. Which directors are resisting the conversion to digital and what solution did the Hollywood studios come up with to address this issue?
Answer
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Related questions
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b. Britain. e. India.
c. Japan.
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In what way are the major Hollywood studios facing a challenge heading into the future?
a. Movie franchises are doing poorly.
b. Several studios and theater chains have gone bankrupt due to digital conversion.
c. Continuing to enhance the appeal of movies for the large foreign audience.
d. Tickets prices are going down.
e. Dwindling box office attendance for superhero films.
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How are independent producers reliant on the big six studios?
a. Distributing through the big six gives independents the largest possible audience.
b. High-end production equipment can only be rented through the big six.
c. Only films distributed by the big six can get an MPAA rating.
d. The big six control most alternate means of distribution, including Netflix and Amazon.
e. Members of labor unions are only allowed to work for the big six.
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a. G. d. R.
b. PG. e. NC-17.
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In 1934, Joseph Breen became the head of the ________, which was created in 1934 by the Motion Picture Producers and Distributors of America (MPPDA) to self-regulate movie content.
a. Hays Office
b. Production Code Administration
c. New York State Censorship Board
d. Motion Picture Association of America
e. Studio Censorship Bureau
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The power of montage, as expressed by Soviet filmmakers of the 1920s, lies in its ability to
a. create a seamless narrative.
b. internalize a characters troubled emotions.
c. elicit subjective point of view.
d. manipulate the viewers perception and understanding.
e. confuse the viewer.
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a. sci-fi d. film noir
b. melodrama e. musical
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a. copper d. hyposulfite thiosulfate
b. sunlight e. the thickness of glass film
c. exposure time
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William Henry Fox Talbots greatest contribution to photography was
a. glass-plate negatives.
b. fixing an image on transparent material.
c. mass production of photoreactive chemicals.
d. the photosensitive copper plate.
e. the camera lens.
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A term synonymous with the aesthetic approach to film history is the
a. artistic approach. d. great director.
b. narrative approach. e. auteur approach.
c. masterpiece approach.
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How does the music employed in The Crying Game (1992) help underscore the surprising turns in the story?
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Provide an example of how music adds symbolic import and emotional impact to the footage we see on-screen.
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What made Orson Welles famous overnight?
a. his 1938 radio production of The War of the Worlds
b. his Broadway adaptation of Julius Caesar
c. his baritone voice in his performance as Charles Foster Kane
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Professional organizations in the motion picture industry engage in which of the following activities?
a. seek equity in pay and working conditions
b. assist with the rating system in film regulation
c. protect artists rights amid the industrys conversion to digital production
d. support the recognition of outstanding achievements of their members to the Academy of Motion Picture Arts and Sciences
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Which of the following best describes MGM?
a. It was a poverty row enterprise.
b. It is no longer in existence today.
c. Irving Thalberg was a senior executive there.
d. It was the largest of the majors.
e. Its backlot was so small that it had to lease soundstages from other studios.
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The preproduction phase is often associated with which of the following?
a. blocking and lighting rehearsals d. reviewing the dailies
b. shooting footage e. rewriting a script
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When a director consults with her cinematographer, it is primarily to
a. ask for advice about directing the actors.
b. inquire whether cost considerations prohibit potential setups.
c. check whether the contents of the script are being respected.
d. consider whether continuity is being enforced.
e. discuss how practical considerations will configure the aesthetic of the eventual image.
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a. is also known as reversal film stock.
b. produces a grainy image.
c. cannot shoot in color.
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Why would an editor choose an iris-out over another type of transition?
a. The iris-out draws the audiences attention to a particular place on the screen.
b. The iris-out looks more sophisticated.
c. The iris-out is cheaper to implement.
d. The iris-out is more expressive.
e. The iris-out is the only way to signify the ending of a scene.
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A wipe, which is a transitional device in which shot B wipes across shot A vertically, horizontally, or diagonally to replace it, was commonly used in what popular movie franchise?
a. X-Men d. Star Wars
b. Twilight e. Hunger Games
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Q:
What is a dissolve?
a. a fade-in or fade-out within a scene
b. a scene that ends on a down note
c. when a small circle of visible action surrounded by black expands to fill the entire screen
d. when a character never reappears in a movie
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Which film was one of the first movies to intentionally and repeatedly violate conventional continuity with jump cuts that call attention to the films construction?
a. Rear Window (1954) d. Breathless (1960)
b. 2001: A Space Odyssey (1968) e. The Tin Drum (1979)
c. Casablanca (1942)
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At one moment in 2001: A Space Odyssey (1968), a cut causes an abrupt transition between a shot of a bone thrown in the air by a primitive prehuman and a shot of a spaceship. This cut is shocking and unusual because
a. it signals a shift between radically different genres.
b. it implies an immense period of elapsed time.
c. it implies a barely perceptible period of elapsed time.
d. the shots possess no connection whatsoever.
e. the bone turns suddenly into a spaceship.
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What is a montage sequence?
a. the creation of a sense or meaning not proper to the images themselves but derived exclusively from their juxtaposition
b. The various forms of editing that expressed ideas developed by Eisenstein, Kuleshov, Pudovkin, and other Soviet filmmakers of the 1920s
c. a string of shots, often with superimpositions and optical effects, which shows a condensed series of events
d. nonelliptical editing
e. continuity editing