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Q:
The specialized digital format that compresses all pixel information into manageably sized files for editing and viewing is known as a
a. codec. d. Steadicam.
b. additive color system. e. dolly.
c. thumb drive.
Q:
Which film switched between eighteen different stocks and formats to give the story a feeling of disorienting instability?
a. Star Wars: Episode IThe Phantom Menace
b. The Searchers
c. Tangerine
d. Carol
e. Natural Born Killers
Q:
The use of color film stock for John Fords The Searchers (1956) was probably due less to aesthetics than to.
a. the scarcity of black-and-white film stock following World War II.
b. industry trends.
c. advances in camera technology.
d. budgetary concerns.
e. John Waynes contract demands.
Q:
Why do audiences associate black-and-white photography and cinematography with a stronger sense of unidealized realism than that provided by color film stock?
a. Color images are distracting.
b. The plots of black-and-white films are more realistic.
c. The reason is the historical use of black-and-white images for documentaries and newspaper photographs.
d. Black-and-white images offer ambiguous moral positions for characters.
e. Color films are more closely associated with fantasy.
Q:
Why is it unusual that protagonist Marshal Will Kane in High Noon (1952) wears a black hat?
a. It makes it difficult to see his eyes.
b. It was uncomfortable for the films star, Gary Cooper.
c. It is not what was described in the screenplay.
d. Dark tones are traditionally associated with antagonists.
e. It is not part of an authentic wardrobe of nineteenth-century law enforcement officers.
Q:
The additive process to render color images on film stock was replaced by the ________ process in the 1930s.
a. monochromatic d. toning
b. hand-tinting e. subtractive
c. stenciling
Q:
Each time that a planned shot is captured is called a
a. scene. d. take.
b. sequence. e. setup.
c. shot.
Q:
A ________ is an unbroken span of action capture by an uninterrupted run of the camera.
a. scene d. slate
b. sequence e. setup
c. shot
Q:
The term for one camera position and everything associated with it is
a. a take. d. the shooting ratio.
b. the format. e. a setup.
c. the scene.
Q:
During production, the crew most closely associated with the camera consists of
a. the director and the production manager.
b. the production designer, editor, and assistant director.
c. the gaffer and best boy.
d. the camera operator and the first and second assistant camerapersons (ACs).
e. grips and electricians.
Q:
The ________ is the person responsible for feeding film stock into magazines that are then loaded onto the camera during production.
a. loader d. best boy
b. first assistant cameraperson e. grip
c. gaffer
Q:
Cinematographic properties of the shot controlled by the DP include the recording medium, lighting, and
a. location. d. editing.
b. lenses. e. mise-en-scne.
c. genre.
Q:
Why is it not useful to rate the cinematic quality of a movie based solely on its kinetic intensity?
Q:
How do filmmakers manipulate the proximity of characters to suggest different meanings?
Q:
How did films of the Italian neorealism movement of the 1940s differ from Hollywood films of the same period?
Q:
What was the goal of expressionism, and how was it realized in German films in the years immediately following World War I? Use specific examples.
Q:
How are costume and color used to differentiate the characters and settings in Tim Burtons Sleepy Hollow (1999)?
Q:
The cinematographer is also known as the
a. visual director. d. lighting director.
b. filmographer. e. director of photography.
c. video recordist.
Q:
Although the directors vision shapes a movies mise-en-scne, the cinematographer must make decisions about
a. the casting of the principal actors.
b. how to photograph the movie.
c. the editing of the shots.
d. when to question the credibility of an actors performance.
e. the emotional truth of the screenplays dialogue.
Q:
Using examples from the text, compare the different directorial approaches to mise-en-scne by Wes Anderson, Alfonso Cuarn, and Robert Wiene.
Q:
Describe the evolution of movie sets during the first two decades of moviemaking. How do filmmakers utilize sets to create the illusion of a complete location when seen on-screen?
Q:
What are the advantages of shooting on soundstages and backlots for Hollywood studio production?
Q:
Although movies set during historical periods often strive for accuracy in many elements of mise-en-scne, female costumes often reflect more contemporary fashions. Why is this the case?
Q:
Using examples from the text, explain how the use of costumes, hairstyles, and makeup can contribute to an actors overall performance and to the audiences perception of that character.
Q:
Why were actors in almost every film before 1960 required to wear wigs?
Q:
Citing examples from the text, explain how the use of different lighting styles on characters and settings can create different meanings, emotions, and expectations.
Q:
How does the movie The Best Years of Our Lives (1946) illustrate the relationship between mise-en-scne and composition?
Q:
What is the rule of thirds, and why is it often preferred to create the illusion of depth over a combination of deep-space composition and deep-focus cinematography?
Q:
The visual style of Sleepy Hollow (1999) features many characteristics of what two genres?
a. Westerns and science fiction d. science fiction and melodrama
b. comedy and horror e. gothic and comedy
c. horror and gothic
Q:
Of the many personnel on a film shoot, who is responsible for aspects of visual continuity during the production process?
a. director d. assistant director
b. producer e. script supervisor
c. editor
Q:
The four basic properties of lighting are
a. intensity, direction, color, and depth.
b. color temperature, focus, source, and intensity.
c. source, quality, direction, and style.
d. bulb metrics, height, color temperature, and focus.
e. quality, quantity, style, and angle.
Q:
The two most basic kinds of artificial lights used for film production are a. incandescent lights and floodlights. b. focusable spotlights and floodlights. c. focusable spotlights and reflectors. d. floodlights and footlights. e. backlights and reflectors.
Q:
How does director Ava DuVernay use mise-en-scne in a courthouse scene to achieve authenticity in Selma (2014)?
Q:
The person responsible for finding and executing an approach to mise-en-scne that will best serve the particular story the film is trying to tell is the
a. production designer. d. set decorator.
b. cinematographer. e. director.
c. producer.
Q:
In order to tightly control a films visual elements during production, directors rely on
a. extended depth of field.
b. the construction of studio sets.
c. natural daylight enhanced with reflectors.
d. large locations to accommodate moving camera shots.
e. actors to deliver realistic, nuanced performances.
Q:
In addition to the casting of nonprofessional actors, one of the signature practices of the Italian neorealism movement was
a. shooting on location. d. color photography.
b. improvisation. e. the stationary camera.
c. artificial lighting.
Q:
The German Kammerspielfilm of the silent era, Italian neorealism in the aftermath of World War II, and the Dogme 95 movement launched in 1995 inspired the use of what stylistic approach to filmmaking?
a. expressionism d. abstraction
b. authenticity e. romanticism
c. minimalism
Q:
Which of the following works was not influenced by German expressionism?
a. The Third Man d. Twin Peaks: The Return
b. Edward Scissorhands e. Run Lola Run
c. The Bride of Frankenstein
Q:
The intersection (or, in some cases, collision) between fantasy and reality often occur in the work of which director(s)?
a. Orson Welles d. William Wyler
b. Joel and Ethan Coen e. Tim Burton
c. Josef von Sternberg
Q:
When a film involves the future, as in science fiction, the costumes must reflect
a. the availability of raw materials.
b. the duration of the screenplay.
c. the deep-space compositions common for the genre.
d. the temperature of the soundstage during production.
e. the social structure and values of an imaginary society.
Q:
________ was an art movement of the early twentieth century that sought to manifest subjective human feelings and emotions through a combination of objective design elements.
a. Realism d. Expressionism
b. Dadaism e. Idealism
c. Cubism
Q:
The first great German expressionist film was
a. The Last Laugh. d. Nosferatu.
b. The Cabinet of Dr. Caligari. e. Siegfried.
c. Metropolis.
Q:
What genre of American film of the 1930s was most influenced by the highly stylized German cinema of the early 1920s?
a. gangster d. melodramas
b. horror e. musicals
c. screwball comedy
Q:
Which of the following is not an aspect of shot composition?
a. the rule of thirds d. parallel editing
b. deep space e. negative space
c. headroom
Q:
Director Robert Wiene used diagonal lines and jagged pointed graphics in The Cabinet of Dr. Caligari (1920) to
a. brighten the mise-en-scne.
b. mask the films low-budget settings.
c. dazzle the audience.
d. foreshadow the use of color film.
e. express the subjective state of mind.
Q:
Filmmakers create ________ by purposely breaking the rule of thirds and denying our expectation of balance.
a. compositional stress d. eye room
b. headroom e. eyeline matches
c. lead room
Q:
To create a balanced composition, characters whose lateral screen movement is tracked by a moving camera are almost invariably given
a. headroom. d. previsualization.
b. eye room. e. top lighting.
c. lead room.
Q:
Deep-space composition conveys information, mood, and meaning by placing significant visual and narrative information
a. on a single plane of depth (foreground, middle ground, or background).
b. on two or more of the three planes of depth (foreground, middle ground, and background).
c. in only the foreground.
d. in only the background.
e. in the sky.
Q:
The kinesis of objects and figures within the frame and of the frame itself are both aspects of
a. focus. d. mise-en-scne.
b. decor. e. setting.
c. lighting.
Q:
Which of the following films is mostly devoid of kinesis?
a. Crouching Tiger, Hidden Dragon d. Royal Wedding
b. Forrest Gump e. Gravity
c. Tokyo Story
Q:
Which is the most conventional lighting system in Hollywood filmmaking?
a. Halloween lighting d. lighting from above
b. the three-point system e. natural lighting
c. colorized filtration
Q:
________ is a lighting technique often associated with horror and film noir.
a. High-key d. Lighting ratio
b. Flat e. Low-key
c. Three-point
Q:
The effective use of ________ is often used to separate a subject from the background and add depth to a shot.
a. natural light d. backlight
b. realistic light e. low contrast
c. colored shadows
Q:
The main source of illumination used in three-point lighting is the
a. key light. d. diffuse light.
b. backlight. e. spotlight.
c. fill light.
Q:
Diagrams of sets that include actor and camera positions are known as
a. storyboards. d. aerials.
b. overheads. e. kinetics.
c. compositions.
Q:
Previsualization can include all of the following planning tools except
a. storyboards. d. software.
b. overheads. e. editing.
c. color grading.
Q:
The term for the organization, distribution, balance, and general relationship of actors and objects within the space of each shot is
a. staging. d. composition.
b. blocking. e. symmetry.
c. design.
Q:
The combination of lighting, color, the movement of actors, and other visual elements contained by the ________ contribute to the meaning of a shot.
a. plot d. frame
b. action e. context
c. screenplay
Q:
The contrast of light and dark was used in The Night of the Hunter (1955) to reinforce
a. Harrys dual nature.
b. comedic elements of the plot.
c. the light sensitivity of the film stock.
d. the influence of German expressionism.
e. the difference between daytime and nighttime scenes.
Q:
Sketches that help guide the cinematographer in coordinating the camera and lighting for a film are known as
a. graphics. d. storyboards.
b. commercial art. e. etchings.
c. doodles.
Q:
The compositional principle that breaks the frame into three vertical sections and three horizontal sections, resulting in a grid, is
a. three-point lighting. d. deep-focus composition.
b. cubic divisional placement. e. the rule of thirds.
c. framing theory.
Q:
During the production of a movie, light is controlled and manipulated by the ________ to achieve expressive effects.
a. editor d. production designer
b. script supervisor e. producer
c. cinematographer
Q:
________ is a lighting technique that uses deep gradations and subtle variations of lights and darks.
a. High-key d. Chiaroscuro
b. Night-for-day e. Diffusion
c. Backlighting
Q:
Which of the following generally characterize the quality of hard light?
a. low contrast
b. bright illumination and dark shadows
c. diffusion
d. less distinct shadows
e. flattering illumination
Q:
Which three sources of light make up the three-point lighting system?
a. key light, fill light, and soft light d. hard light, soft light, and backlight
b. key light, backlight, and hard light e. key light, fill light, and backlight
c. fill light, soft light, and backlight
Q:
High-key lighting is used extensively in which of the following genres?
a. musicals d. horror films
b. film noirs e. crime films
c. mysteries
Q:
In The Scarlet Empress (1934), director Josef von Sternberg photographs Marlene Dietrich to accentuate her
a. beauty. d. monstrousness.
b. strength. e. ethnicity.
c. plainness.
Q:
How did Orson Welles create more immersive sets in Citizen Kane (1941) to lend their settings a more expansive spatial quality?
a. He shot the interiors in black and white.
b. He built only the minimum parts of the rooms needed to accommodate the story action.
c. He built a complete set of four walls for shots captured from high angles.
d. He used actual locations that he had reconstructed on a soundstage.
e. He used a Steadicam to provide moving, close-to-the-floor point-of-view shots.
Q:
Studios of the classical Hollywood period had no qualms about ordering male actors with star potential to undergo cosmetic surgery and change hair color in order to
a. maintain the studios ideal kind of masculinity.
b. disguise the actors true identity from the public.
c. conform to the look of their rival studios roster of stars.
d. subvert the control of the director on the set.
e. prevent them from being stereotyped.
Q:
What usually determines the selection and design of costumes used in a film?
a. the physical size of the cast
b. authenticity for a storys time period and setting
c. the camera lens of a given shot
d. the native language of the location
e. the type of lighting
Q:
Although much attention was paid to the authenticity of historical costumes during the studio era, hairstyles were often based on
a. the actors personal style. d. genre formulas.
b. advertiser demands. e. modified contemporary looks.
c. polyester wigs.
Q:
For the costuming in the 1963 historical epic Cleopatra, the Hollywood studio 20th Century Fox was more concerned with ________ than historical accuracy.
a. glamour d. nuance
b. character progression e. generic conventions
c. expressionism
Q:
Until the 1960s, why were actors in almost every film, whether period or contemporary, required to wear wigs?
a. Hair styling was too costly.
b. It was feared that the audience would not recognize the star.
c. Wigs reflected light better than real hair.
d. An actors real hair could be the source of a continuity error.
e. The stars contract prevented it.
Q:
________ is the process by which the look of settings, props, lighting, and actors is determined.
a. Casting d. Design
b. Costuming e. Editing
c. Budgeting
Q:
In Edward Scissorhands (1990), the unusual costume and makeup of the title character emphasizes his
a. sexual neediness. d. outsider status.
b. conformity. e. addictive personality.
c. brutality.
Q:
Although facial painting and prosthetics were used for the face of the Joker in The Dark Night (2008), the transformation of Harvey Dent into Two-Face was created by
a. special facial makeup only. d. prosthetics only.
b. a process involving digital makeup. e. the actor.
c. chiaroscuro lighting.
Q:
What did movie studios hope to gain by building soundstages after the first two decades of filmmaking?
a. authenticity d. available light
b. natural depth e. unpredictability
c. cost savings
Q:
Sets are often built on a ________, which is a windowless, soundproofed, interior shooting environment.
a. stadium d. theater
b. back lot e. soundstage
c. camera booth
Q:
Arrivals alien egg-shaped craft, which seems to be made of stone and has interiors that are spare, organic, and enormous, is an example of
a. the largest interior set in existence.
b. subverting established movie expectations.
c. German expressionism.
d. the rule of thirds.
e. high-key lighting.
Q:
The colors and textures of interiors, furniture, draperies, and curtains are aspects of
a. decor. d. exterior locations.
b. lighting. e. properties.
c. depth perception.