Accounting
Anthropology
Archaeology
Art History
Banking
Biology & Life Science
Business
Business Communication
Business Development
Business Ethics
Business Law
Chemistry
Communication
Computer Science
Counseling
Criminal Law
Curriculum & Instruction
Design
Earth Science
Economic
Education
Engineering
Finance
History & Theory
Humanities
Human Resource
International Business
Investments & Securities
Journalism
Law
Management
Marketing
Medicine
Medicine & Health Science
Nursing
Philosophy
Physic
Psychology
Real Estate
Science
Social Science
Sociology
Special Education
Speech
Visual Arts
Question
Why is there no need for filmmakers to film in a real space whose dimensions correspond to the ones implied by editing?
a. because audiences will never believe in the plausibility of an on-screen space
b. because production equipment cannot fit into or navigate a real space
c. because directors are not trained to work within a real space
d. because editing establishes relationships between shots that can fool audiences into accepting the believability of spaces actually shot in fractions of implied space
e. because editing establishes relationships between shots that can fool audiences into accepting the believability of spaces actually shot in complete and vast space
Answer
This answer is hidden. It contains 80 characters.
Related questions
Q:
Which of the following is an example of a film employing narrative organization in a way that goes against the arrangement of events in conventional order?
a. A film possesses an exposition, rising action, climax, falling action, and denouement.
b. A films material is chosen and organized so that one event leads to another in a recognizable progression.
c. A film jumps from scene to scene so that events proceed, not in chronological order, but rather according to poetical associations.
d. A film advances linearly from scene to scene by following a character throughout the course of her day.
e. A film documents the development of a protest movement by following several participants in dramatic fashion.
Q:
Explain how the first high school scene in Donnie Darko manipulates time for thematic effect.
Q:
What does mediation have to do with the way the camera captures and represents the outside world?
Q:
Use an example of a specific cinematic technique to explain how the camera eye mediates between the world and us.
Q:
How do patterns and expectations relate to one another?
Q:
The conventions of cinematic language represent a sort of ________ between the filmmaker and the audience about the mediating element between them: the shot.
a. agreement d. verisimilitude
b. conflict e. realism
c. formalism
Q:
What are expectations associated with realistic characters?
a. that they do things that conform to what we understand of real people
b. that they do things that are continuously heroic and brave
c. that they are always physically attractive and likeable
d. that they constantly surprise us with actions that have no basis in logic or reason
e. that they are always working-class people
Q:
Antirealism is defined as an interest in or concern for
a. the actual or real, with a tendency to view or represent things as they really are.
b. the speculative and fantastic.
c. problems that cannot be solved.
d. naturalistic performances and dialogue.
e. abrasive or aggressive art.
Q:
Which of the following is an example of cinematic manipulation of space?
a. the shooting of a scene with gauzy filters
b. an abrupt cut that moves the action of a movie forward thousands of years in the future
c. the clever editing of sequence to make it appear as if all shots were taken in the same room when in reality they were not
d. dramatic, shadowy lighting
e. deliberately and painstakingly choreographed actors
Q:
Directors Fernando Meirelles and Ktia Lund use crosscutting techniques in City of God in what unique way?
a. split screen d. bullet time
b. freeze frame e. fast motion
c. verisimilitude
Q:
Why is the stolen $40,000 in Psycho considered a MacGuffin?
a. because it is of vital importance throughout the entire movie
b. because eventually it is of no real importance in the movie
c. because it is of vital importance to some but not all of the characters
d. because it is of vital importance to some but not all of the viewers
e. because in 1960 it was considered a lot of money
Q:
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
Q:
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.
Q:
Which film genre was most notably influenced by German expressionism?
a. sci-fi d. film noir
b. melodrama e. musical
c. screwball
Q:
Who is credited with advancing the development of the narrative film and the production of the first Western?
a. Thomas Edison d. Louis Lumire
b. Georges Mlis e. G. A. Smith
c. Edwin S. Porter
Q:
By drastically reducing ________, gelatin-covered paper made it possible for photographers to capture action spontaneously.
a. copper d. hyposulfite thiosulfate
b. sunlight e. the thickness of glass film
c. exposure time
Q:
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.
Q:
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.
Q:
How does the music employed in The Crying Game (1992) help underscore the surprising turns in the story?
Q:
Provide an example of how music adds symbolic import and emotional impact to the footage we see on-screen.
Q:
Explain the meaning of director Steven Spielbergs statement, The eye sees better when the sound is great.
Q:
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
d. his direction of Citizen Kane
e. his modern adaptations of literary classics
Q:
How does the sound design of the opening scene in Once Upon a Time in the West (1968) function?
a. It intentionally thwarts the audiences spatial and temporal expectations.
b. It answers fundamental questions about the narrative.
c. It helps the audience distinguish the individual sounds and understand how they are arranged in relation to one another.
d. The audio mise-en-scne emphasizes the camaraderie of three desperadoes.
e. The various nondiegetic sounds help us understand Harmonicas point of view.
Q:
How does the sound of Harlan Ogilvy sharpening a large blade in War of the Worlds (2005) affect the audience?
a. It leads the audience to believe that Ogilvy may become an evil force.
b. It suggests Ogilvy could be an ally.
c. The soothing tones suggest a happy ending.
d. It provides irony since the viewers know a new demonic force now rules the world.
e. It provides relief since the characters could use a large blade.
Q:
From a sound perspective, what is the major achievement of Black Hawk Down (2001)?
a. multiple voice-over narration, which offers conflicting accounts of the same event
b. the bold juxtaposition of images with contrasting music
c. the silence used to produce a new rhythm
d. music that is fused with sound effects to create a seamless tapestry
e. incongruous nondiegetic sound for comic relief
Q:
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?
Q:
Describe the significant similarities and differences between the film and digital processes in the production stage of filmmaking.
Q:
The largest foreign consumer of Hollywood films is
a. Germany. d. China.
b. Britain. e. India.
c. Japan.
Q:
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.
Q:
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.