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
Humanities
Q:
Which of the following is NOT one of the basic principles typically employed in making an associational film? A. To tell a clearly understandable story. B. Build the film around groups of images. C. Create variations between parts of the film. D. Repeat motifs to reinforce associations.
Q:
Which of the following is the best example of an associational film?
A. Ballet mcanique
B. Dimensions of Dialogue
C. An Inconvenient Truth
D. Koyaanisqatsi
Q:
Animated films are distinguished from live-action ones by the kinds of work done at the ______ stage.
A. development
B. pre-production
production
D. post-production
Q:
In animation, cels are A. segments of the storyboard. B. clear rectangular sheets of celluloid. C. sections within the script. D. areas of the screen on which images are drawn.
Q:
The greatest challenge involved in using categorical form in a documentary is the
A. difficulty involved in properly assigning categories and finding examples of those.
B. fact that it tends to develop in complex ways and thus risks confusing the viewer.
C. difficulty involved in properly relating the categories to the viewer's experience.
D. fact that it tends to develop in fairly simple ways and thus risks boring the viewer.
Q:
Whereas most documentaries present talking heads in ______, Les Blank's Gap-Toothed Women makes extensive use of ______.
A. extreme close-ups; medium shots or medium close-ups
B. extreme long shots; extreme close-ups
medium shots or medium close-ups; extreme close-ups
D. extreme close-ups; extreme long shots
Q:
Which of the following is NOT one of the four attributes of rhetorical form in a documentary film? A. It addresses the viewer openly. B. The subject of the film is usually a matter of opinion or interpretation, and not necessarily scientific truth. C. The subject of the film is usually presented as a highly controversial issue. D. It appeals to our emotions, rather than relying purely on factual evidence. E. It attempts to persuade the viewer to make a choice.
Q:
Which of the following is NOT typical of rhetorical form? A. Arguments from indisputable scientific truth with no room for interpretation B. Arguments from source, involving sources of information that are meant to be seen as reliable C. Arguments including a clear presentation of an explicit persuasive opinion D. Viewer-centered arguments, which usually tap into the viewer's emotions
Q:
A significant example of rhetorical documentary form is
A. Godfrey Reggio's Koyaanisqatsi
Pare Lorentz's The River
C. Kenneth Anger's Scorpio Rising
D. Les Blank's Gap-Toothed Women
Q:
Which of the following is NOT one of the ways that Pare Lorentz builds viewers' trust in The River? A. The narrator's rich voice, which makes him sound trustworthy B. Extensive use of facts and dates C. Celebrity endorsements and voiceovers sprinkled throughout the film D. A list of government agencies that sponsored the film
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:
One place where the average viewer is likely to be exposed to avant-garde cinema (or at least its influence) is in
A. television commercials.
music videos.
C. Facebook status updates.
D. educational films used in middle school health classes.
Q:
Drawing on class readings and screenings, describe the typical narrative patterns used to integrate song-and-dance numbers into musicals, commenting especially on the importance of romance.
Q:
Beyond the competition, conflict, suspense, and surprise of sports films there is ideological commentary. Choose a relatively current sports film such as Niki Caro's McFarland, USA (2015) or Antoine Fuqua's Southpaw (2015) and investigate the ideological and cultural message of the film.
Q:
A film is a documentary if it
is labeled as such.
B. records events precisely as they occur.
C. contains no staged re-creations.
D. consists only of verifiable truths.
Q:
Mockumentaries can best be defined as films that A. imitate the conventions of documentaries, often for comedic effects, but do not pretend to be factual. B. take very real, serious topics and present them in a comical light. C. imitate the conventions of documentaries and present themselves as factual to trick the audience. D. deliberately avoid the conventions of the documentary.
Q:
Which of the following is NOT a type of documentary film?
A. The compilation, created by assembling images from archival sources
B. The interview or talking-heads documentary
C. Direct-cinema documentary, a recording of events as they happen
D. Staged documentary, which consists entirely of re-creations of events with professional actors
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:
Which of the following is NOT a type of documentary film? A. Nature documentary, involving animals or other subjects in nature B. Portrait documentary, which focuses on the biography of a person C. Visionary documentary, which presents the director's abstract proposal D. Synthetic documentary, a combination of documentary types
Q:
Due to their defined formulas for success, genres are unable to respond quickly to broad social trends.
Q:
In addition to narrative documentaries, documentaries may take non-narrative forms, including
A. portrait and categorical.
rhetorical and categorical.
C. rhetorical and visionary.
D. portrait and visionary.
Q:
Based on the genre film(s) screened or discussed or both in class, indicate two conventions of character, plot, theme, or iconography that are distinctive of the genre. Then, for each convention you select, show how the film(s) you select exemplify the genre. As evidence, cite specific scenes that use the conventions.
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:
Briefly describe how ideas about genre are used by people within the film industry, by film reviewers, and by ordinary moviegoers.
Q:
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.
Q:
Discuss the common "reflectionist" argument that genres mirror larger events and trends in society. Drawing on examples from class readings and screenings, suggest the strengths and weaknesses of this argument.
Q:
Film Art suggests that the Western deals with "the conflict between civilized order and the lawless frontier." Drawing on readings and screenings, suggest what conventions and iconography of the Western are associated with that conflict.
Q:
Select any relatively recent crime thriller, such as David Fincher's Gone Girl (2014) or Jaume Collet-Serra's Run All Night (2015), and discuss how the filmmaker has manipulated the typical characters and narrative structure to refresh the genre.
Q:
Drawing on class readings and screenings, describe the kinds of conventions and iconography used to evoke the monstrous forces at the center of the horror film. Suggest some reasons for the enduring appeal of this genre.
Q:
Most scholars see genre films as pure escapism, with no significant relation to contemporary society.
Q:
Social processes can be reflected in genre innovations. For example, films such as Aliens reflect the new conceptions of gender in the 1970s.
Q:
Sports films do not have their own plot patterns, iconography, or themes--they only borrow from more traditional genres.
Q:
One characteristic of any given genre is that its form remains unchanged over time.
Q:
Genre conventions include plot patterns, thematic patterns, and stylistic patterns.
Q:
The periods of time during which a given genre is popular are called "cycles."
Q:
When analyzing a film, what qualifies as a salient technique? Give some examples from Film Art or from a film watched for class.
Q:
Filmmakers avoid mixing the conventions of more than one genre.
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 is the relation (if any), both visually and graphically, of the beginning and ending of Citizen Kane?
Q:
How does Welles use mise-en-scene in Citizen Kane to set up the contrast between the early, idealistic part of Kane's life and his later withdrawal from public life?
Q:
In Citizen Kane, what functions does the newsreel sequence serve and what techniques does Welles use to set it apart?
Q:
A genre's iconography consists of
A. its typical plot patterns.
B. its use of recurring themes.
C. the sum of all its editing conventions.
D. its characteristic objects, settings, and stars.
Q:
John Ford's The Searchers is a major example of which genre?
The Western
B. The detective story
C. The science-fiction film
D. The musical
Q:
Which of the following is NOT a reason for the recent popularity of the crime thriller with filmmakers? A. Audiences love suspense and enjoy twists and surprises. B. It requires the use of popular and elaborate special effects. C. It is relatively inexpensive to produce. D. It offers showy roles to actors.
Q:
Which of the following is NOT a film genre? A. Western films B. Black-and-white films C. Science-fiction films D. Musical films
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:
Many scholars believe that the cultural explanation of the emergence of the subgenre of family horror films in the 1970s indicated viewers' A. concern about Watergate and Richard Nixon's crimes. B. uncertainty about their fundamental beliefs about the world and their identity. C. lessening interest in television. D. anxiety about the increase in crime in New York City.
Q:
Which of the following is NOT a convention of the romantic comedy?
A. "Cute meet"
B. "Big misunderstanding"
C. Physical separation
D. Flashback
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:
The Fred Astaire-Ginger Rogers film Swing Time is an example of the backstage musical.
Q:
The typical Western thematically places the hero between savagery and civilization.
Q:
What are some of the things that should be looked for when determining the organizational structure of a film?
Q:
The ending of Citizen Kane A. does not reference the beginning of the film, which is a move away from traditional organizational form. B. provides firm resolution to the mystery of Kane's character. C. echoes the beginning of the film explicitly. D. provides no real insights into Kane's character.
Q:
A salient characteristic of Citizen Kane's style is the use of
A. crosscutting.
B. nondiegetic inserts.
C. nonactors.
D. dolly and crane shots.
Q:
In 1941 the most startling transitional device used in films was
the shock cut.
B. the swish pan.
C. the sound bridge.
D. superimposition.
Q:
Which of the following does NOT belong to this list of films and their salient techniques? A. Grand Illusion: the long take B. Citizen Kane: shooting in depth C. October: mobile camera D. Mon Oncle: comic sound manipulations
Q:
In Citizen Kane, Welles makes the narrator, Thompson, almost unidentifiable through the use of low-key lighting and staging choices.
Q:
Parallelism, an important feature in many great films, is surprisingly absent from Citizen Kane.
Q:
Welles makes the important newsreel sequence distinctive by using a number of techniques that do not appear anywhere else in Citizen Kane.
Q:
If a character speaks, the viewer expects to hear diegetic sound that is faithful to the source.
Q:
The 180-degree editing of The Maltese Falcon is typical of traditional form and of no interest, and thus would not be considered a salient technique used by the filmmaker.
Q:
A filmmaker's creative choices can be constrained by technology, stylistic norms, or taste.
Q:
Welles uses the shock cut to convey the passage of time during the "breakfast table" sequence between Kane and his first wife.
Q:
Tati's stylistic choices in Mon Oncle produce a thematic and narrative contrast of charming neighbors to modern homes that runs throughout the film.
Q:
If a character begins to leave the frame in a scene, the viewer expects the camera to remain stationary.
Q:
Independent films have less opportunity to make extreme stylistic choices.
Q:
In Citizen Kane, each narrator's version is presented as objective and omniscient narration.
Q:
The nature of the lighting, setting, and music give the opening scene of Citizen Kane a feel most associated with
A. documentary films.
B. thrillers.
C. romance films.
D. mystery movies.
Q:
Diegetic sound is defined as any sound that is realistic.
Q:
Off-screen sound can provide a sense of how a scene will develop.
Q:
The use of subjective sound can parallel that of optical point-of-view.
Q:
Sound perspective gives a sense of spatial distance and location.
Q:
Nondiegetic sound is the same as synchronous sound.
Q:
An example of blending in The Exorcist is a single piercing scream repeated over and over again.
Q:
Describe what off-screen sound is and two major ways it can be used. Illustrate your answer with specific examples from Film Art, the lectures, or any film seen for this class.
Q:
How does on-screen and off-screen sound work with optical point-of-view cutting to illuminate character perspective in Quentin Tarantino's Jackie Brown?
Q:
What are salient stylistic techniques?
Techniques that can be noted and named
B. A confusing choice a filmmaker made
C. The important techniques the film most relies on to create its style
D. Costume choices
Q:
What can limit the stylistic choices of a filmmaker?
A. Fashion trends
B. Viewers' tastes
C. Technology
D. All of the answer choices are correct.
Q:
Our Hospitality creates its gags by
A. isolating each element in a single shot and then linking the two elements by editing.
putting two elements in the same shot and letting us observe comic juxtaposition.
C. isolating each element in a single shot and then allowing the progression of shots to create comic structure.
D. following heavily physical actions by the characters with scenes of extreme stillness to create comic juxtaposition of opposite levels of movement.
Q:
In Shadow of a Doubt, which of the following is done by the development and stylistic presentation of the story? A. They make the audience identify with the murderer. B. They put the audience close to Young Charlie's point of view. C. They keep the audience confused as to the true motives of Uncle Charlie. D. They take us chronologically through the defining moments of Young Charlie's adolescent life.