Humanities

Q: In Citizen Kane, a sound motif is A. the whirl of the wind outside Xanadu. B. the click of tap-dancing heels. C. the inability of Kane's wife, Susan, to sing pitches accurately. D. All the answers are correct.

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: A category of film that typically uses sonic flashbacks intercut with diegetic synchronous sound is A. animation. trial films. C. Westerns. D. romantic comedies.

Q: A dialogue overlap is when a line of dialogue continues across a cut.

Q: In Michael Mann's The Last of the Mohicans, during the final combat scene, A. traditional Magua tribal drumbeats punctuate the flying arrows. B. the orchestral music is slow, deep, and foreboding to accentuate Magua fighters sneaking up on Chingachgook. C. Scottish dance music synchronizes with visual rhythms. D. there is no sound, only silence.

Q: A dry recording is a recording made in a nonreflective space so that it's "clean" and can be manipulated electronically later to yield the desired effects. B. of music as heard through a sheet to fuse the timbre. C. heavily digitally manipulated sound effects. D. of dialogue by two different characters to emphasize conflict.

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: In a modern film, how many separate tracks may be layered into the mix at any given moment? A. One B. A dozen or more C. Hundreds D. At least five

Q: The pitch, or frequency, of a sound affects the A. perceived color of the sound. B. perceived loudness of the sound. C. perceived texture of the sound. D. perceived highness or lowness of the sound.

Q: Film sound can include any mixture of speech, music, and noise. B. pitch, image, and loudness. C. volume, text, and dialogue.

Q: The angels in Wings of Desire violate the rule that one character cannot A. hear the off-screen dialogue of another. hear another's internal thoughts. C. hear both on-screen and off-screen sound simultaneously. D. speak while simultaneously listening.

Q: In the scene when Virginia is on the beach in The Snake Pit, the crossing of internal and external diegetic sound borders accomplishes what narrative goal? A. It gives the viewer a better sense of the spatial dimensions of the mise-en-scene. B. It gives the viewer access to the larger political context of the story. C. It confuses the viewer in order to then reveal Virginia's mental state. D. It provides the viewer with an intimate understanding of the protagonist's sexuality.

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: How would you describe Casablanca's soundtrack compared to film soundtracks of today? A. Empty B. Linear C. Full D. Noisy

Q: Sound that represents a character's thoughts without the character speaking aloud is called A. mental sound. internal diegetic sound. C. cognitive sound. D. off-screen sound.

Q: To create suspense, horror and mystery films often use A. digitally recorded sound. B. sonic flashbacks. C. voiceover commentary. D. sound from an unseen source.

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.

Q: Jackie Brown repeats the same scene three times, using ______ in each version. A. three very similar nondiegetic soundtracks restricted narration and varying sound tracks C. identical sonic flashbacks D. varying internal diegetic sound and voiceover narration

Q: Which of the following does NOT affect sound perspective in a theater space? A. Timbre B. Volume C. Multichannel recording D. Synchronization

Q: A sound bridge is A. a lightweight frame for quickly moving a microphone above the action while filming on location. B. overlapping the sound of one scene into the next. C. boosting the volume of the music to make it more prominent than the voices or sound effects. D. transferring a sound from one channel to another in multichannel recording.

Q: A sound bridge is categorized as A. simultaneous sound. B. nondiegetic sound. diegetic sound. D. lacking fidelity.

Q: How are speech, music, and sound effects captured? A. By recording dubbed dialogue B. By recording music C. By recording Foley sound effects D. All of the answers are correct.

Q: The "intensified continuity" that characterizes contemporary filmmaking is well adapted for viewing on small screens such as those found on laptop computers and smartphones.

Q: A match on action is so powerful that it can create spatial and temporal continuity across the cut.

Q: Discuss how the number of shots in a film has evolved since 1930 and how this has affected the continuity editing system.

Q: Sounds perform many functions in film including A. prodding the audience to form expectations. B. giving new value to silence. C. steering the viewer's attention within an image. D. All the answers are correct.

Q: Which of the following is NOT one of the three major perceptual properties of film sound? A. Volume B. Pitch C. Timbre D. Texture

Q: The term dialogue overlap means A. mixing sounds so that two or more characters speak at the same time. B. creating realism by having one actor start to speak just before another finishes a line. continuing a line of dialogue over cuts during shot/reverse shot. D. a type of sound bridge that links one scene with the next.

Q: The term Mickey Mousing refers to A. the use of fast, cheerful music to accompany comic action. B. the post-dubbing of sound effects created in a special studio. tightly matching movement to music on the screen. D. redubbing objectionable language in preparing a film for television broadcast.

Q: In film sound, "fidelity" refers to A. the sound that comes from within the diegetic space of the story. B. the dialogue actually spoken by the actors during shooting. C. sound that seems appropriate to its source in the film. D. lip synchronization that has been done correctly.

Q: 6. Which of the following statements about diegetic sound is NOT true? A. It can come from an off-screen source within the world of the film. B. It can come from a time later or earlier than the events occurring on the screen. C. It can come from a source inside or outside the world of the film. D. It can be manipulated to lack fidelity to its source in the film.

Q: The scene of the cavalry rescue in John Ford's Stagecoach A. demonstrates how sound can call our attention to events happening offscreen, such as when the bugle call signaled the pending rescue. B. shows that manipulation of a sound's fidelity can be used to create a striking transition, such as when the gunshots were manipulated to sound like horse hooves. C. greatly exaggerates the volume of the rifle shots to convey the characters' subjective reactions. D. is an unusual case of a major action sequence being played with no music at all.

Q: Graphic qualities are rarely considered in traditional continuity editing.

Q: Elliptical editing expands story time.

Q: A shot can be as short as a single frame.

Q: A POV shot is optically identical to an eyeline match.

Q: POV editing in Rear Window violates the 180-degree rule.

Q: In editing, rhythm depends on the patterning of shot lengths.

Q: An establishing shot is a close view that reveals a significant detail in the scene.

Q: Most films made since 1995 indicate the passage of time through fades and dissolves instead of direct cuts.

Q: A scene's axis of action shifts as the characters move around the set.

Q: The term shot/reverse shot refers to cutting back and forth across the axis of action.

Q: A match on action is a common method of breaking the axis of action.

Q: Most shot/reverse-shot cuts utilize the eyeline match.

Q: Flashbacks are the most common departure from a 1-2-3 temporal order in Hollywood continuity films.

Q: Overlapping editing expands story duration.

Q: In the sequence at the gas station in The Birds, Hitchcock utilizes a long and slow camera movement to reframe the complex action.

Q: Editing is the most effective technique for controlling a viewer's attention.

Q: A battle scene will typically utilize what editing pattern to show what the opposing groups are doing at any given moment? Crosscutting B. Shot/reverse shot C. Graphic matches D. Eyeline matches

Q: Which of the following is NOT used to produce an elliptical transition? A. Fade-out B. Montage sequence C. Dolly shot D. Cut

Q: Films that use a great deal of editing are more "cinematic" than those that rely mostly on long takes.

Q: Film editing may be thought of as the coordination or connection of one shot with the next.

Q: In order to create a smooth flow of narrative information, Hollywood films use detailed graphic matches for almost all cuts.

Q: Crosscutting typically A. provides a greater degree of continuity than a shot/reverse shot does. provides more knowledge of narrative events than other types of editing. C. provides less knowledge of narrative events than other types of editing. D. demands a great deal of matching on action for events to be clear.

Q: In the continuity system, a montage sequence usually compresses a lengthy series of actions into a few moments. B. generates suspense during a last-minute rescue situation. C. serves as a brief epilogue to the main narrative. D. uses eyeline matching to guarantee clear spatial relations among shots.

Q: Precise graphic matching in a narrative context is typical of the films of A. Stan Brakhage. B. Yasujiro Ozu. C. Andy Warhol. D. Bruce Conner.

Q: Which of the following is NOT a significant alternative to the techniques of the continuity system? A. 360-degree space B. Nondiegetic inserts C. Jump cuts D. Cheat cuts

Q: Which of the following is NOT characteristic of the editing in Sergei Eisenstein's October? A. Graphic discontinuities B. Establishing shots C. Crosscutting D. Unclear temporal relations

Q: In Citizen Kane, Orson Welles utilizes what kind of transition between the deathbed sequence and the "News on the March" sequence? A. Fade-in B. POV shot C. Graphic mismatch D. Match on action

Q: Digital intra-frame editing allows filmmakers to alter space by A. intercutting two unrelated images to imply a compression of time as well as space. B. layering parts of different shots into a single shot. C. splicing together multiple frames and using traveling mattes to produce a fast-forward effect. D. utilizing mismatched shots in a conversation sequence to hide their flaws.

Q: Kuleshov typically utilized what editing technique to create a sense of spatial proximity between shots? A. Shot/reverse shot B. Crosscutting Eyeline match D. Reframing

Q: A match on action carries a single movement across two or more shots. B. smoothes the transition across a jump cut. C. provides a way of avoiding the 180-degree rule. D. allows for cheat cuts without violating continuity.

Q: In Rear Window, POV editing A. provides the viewer with omniscient access to the murder. B. confuses the viewer concerning the actual location of Jeff. C. restricts the viewer to Jeff's range of knowledge. D. introduces unrestricted access to all of the occurrences in Thorwald's apartment.

Q: Contemporary filmmaking differs from that of classical Hollywood in all the following ways except A. more frequent use of close-ups. B. less crosscutting. C. fewer establishing shots. D. increased use of telephoto lens.

Q: The 180-degree system is designed to A. ensure consistent screen direction across cuts. B. create smooth, unnoticeable matches on action across elliptical cuts. C. allow the camera to cut from action in one location to action elsewhere. D. avoid cutting in the middle of a camera movement to a static framing.

Q: A cheat cut involves A. crossing the axis of action by 30 degrees and then matching on action to guide the eye. B. "cutting" the film in the camera so that actual splices are not needed. C. splicing together two shots taken from the same framing but with an ellipsis. D. a slight mismatch in the positions of mise-en-scene elements.

Q: A "long take" is a shot taken with the camera at a considerable distance away from the main subject of the shot.

Q: "Day-for-night" technique involves shooting outdoor day scenes at night.

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