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Q:
Edwin S. Porters experience as a projectionist led him to
a. the concept of making longer, more complex films.
b. an understanding of special effects technologies.
c. continuity editing.
d. the construction of his own camera while working for Edison.
e. only a and b
f. all of the above
Q:
Life of an American Fireman
a. remains a lost film.
b. was entirely staged on sets.
c. originally contained intercut sequences.
d. shows the same action from two different perspectives.
e. all of the above
f. none of the above
Q:
The original version of Porters Life of an American Fireman contains all of the following techniques EXCEPT
a. intercutting stock and staged footage.
b. intercutting interior and exterior action.
c. the matte shot.
d. a dream balloon.
e. an insert close-up.
f. All of the above are techniques used in the film.
Q:
Porter first demonstrated the cinemas potential for narrative fluidity within time and space through the technique of
a. match cutting. d. crosscutting.
b. overlapping action. e. both a and b, which are the same thing
c. temporal repetition. f. none of the above
Q:
Which of the following is NOT a reason why Porters Life of an American Fireman was thought to contain parallel action?
a. the version of the film found by the Museum of Modern Art in 1944
b. the accounts of early historians such as Jacobs and Ramsaye
c. catalog description and production stills from Edison
d. Porters own description of the film
e. the Library of Congress paper print of the film
f. all of the above
Q:
a. contains 9 shots rather than 20, as in the previously available version. b. first surfaced in the 1940s, thanks to the Museum of Modern Art. c. shows evidence of crosscutting. d. avoids overlapping action. e. is not considered the definitive version. f. all of the above
Q:
Overlapped action
a. is not found in any Porter film except Life of an American Fireman.
b. was uncommon in early cinema.
c. seemed to trouble audiences of the time.
d. confuses narrative temporal relationships.
e. is one of the defining characteristics of the cinema of attractions.
f. all of the above
Q:
Modern continuity editing began with the discovery that
a. shots could be cut to expand or compress time.
b. action could be made to appear continuous from shot to shot.
c. shots could be matched through spatial relations.
d. two shots could create a single unit of meaning.
e. both b and d
f. all of the above
Q:
The Great Train Robbery
a. was the cinemas first western.
b. was shot on location in the American Southwest.
c. is most significant for its use of special effects.
d. features intercutting of shot scales within scenes.
e. both a and d
f. all of the above
Q:
The first narrative shot of The Great Train Robbery depicts the bandits
a. lurking behind the water tower waiting for the train.
b. riding through the woods on horseback on their way to the robbery.
c. tying up the station master in the railroad office.
d. climbing on top of the train to grab the engineer.
e. none of the above
Q:
The Great Train Robbery is historically significant because
a. it cuts away from scenes before the action is fully played out.
b. it began the development of the basic practices of the cinematic language.
c. it posits the shot rather than the scene as the basic unit of cinematic meaning.
d. it was the first film to exploit the violence of armed crime.
e. all of the above
f. none of the above
Q:
All of the following cinematic techniques are seen in The Great Train Robbery EXCEPT
a. parallel action. d. action staged in depth.
b. panning shots. e. matching action.
c. matte shots. f. All of the above are in the film.
Q:
The Great Train Robbery
a. completely rejects proscenium staging.
b. was a unique, isolated breakthrough, employing previously unknown techniques.
c. uses several camera angles within a single location.
d. maintains the long shot as the dominant shot scale.
e. Only a and c are true.
f. All of the above are true.
Q:
Which of the following techniques was pioneered by a filmmaker other than Edwin S. Porter?
a. time-lapse photography
b. parallel action
c. integration of stock footage into narrative
d. the close-up
e. All of the above were pioneered by Porter.
f. None of the above were pioneered by Porter.
Q:
Which of the following cinematic innovations can be attributed to early British filmmakers such as G. A. Smith and James Williamson?
a. the close-up
b. superimpositions
c. color cinematography
d. intercutting interiors and exteriors
e. All of the above are British innovations.
f. None of the above are British innovations.
Q:
Multi-shot films were first constructed by
a. producers. d. editors.
b. exhibitors. e. distributors.
c. directors. f. none of the above
Q:
Which of the following is NOT true of Georges Mlis?
a. He worked as a magician, a mechanic, an illustrator, and a stage designer before moving into film production.
b. He owned and operated his own theaterthe Theatre Robert r-Houdin.
c. He bought his first camera from the Lumires.
d. He showed the films he produced in his own theater.
e. All of the above are true.
f. None of the above are true.
Q:
Mlis purportedly learned of the possibilities of cinematic manipulation to achieve special effects through
a. methodical experimentation.
b. studying the work of previous filmmakers.
c. advances in editing technology.
d. an accident with a jammed camera.
e. modifying his camera.
f. all of the above
Q:
Mlis
a. made exclusively special-effects oriented trick films.
b. was the first director to break down his scenes into individual shots.
c. began the technique of positioning the camera at different angles within the scene.
d. quickly narrowed his focus so that he was just directing his films with no other responsibilities.
e. can be considered the cinemas first narrative artist.
f. all of the above
Q:
Which of the following was NOT one of Mlis innovations?
a. the multi-shot film d. stop-motion photography
b. fades in and out e. multiple exposures
c. lap dissolves f. all of the above
Q:
The Star Film Company with its glass-roofed studio was the creative home of
a. Edwin S. Porter. d. Lon Gaumont.
b. Charles Path. e. Georges Mlis.
c. W. K. L. Dickson. f. none of the above
Q:
Mliss films
a. eventually grew to the length of one reel, or nearly 15 minutes.
b. told more elaborate stories than other films of the time.
c. were often based on historical or newsworthy events.
d. were written, directed, produced, and designed by Mlis, who also starred and did the special effects himself.
e. All of the above are true.
f. Only a and d are true.
Q:
The cinema of attractions
a. focused on narrative continuity.
b. drew audiences to the technological display of the cinematic apparatus.
c. dominated the first two decades of the motion picture medium.
d. has disappeared completely from modern cinema.
e. avoided direct address in favor of narrative transparency.
f. none of the above
Q:
A Trip to the Moon
a. is about average length for a film made in 1902.
c. is composed of ten individual tableaux.
d. features the camera dollying into the moon.
e. was not initially popular with audiences.
f. all of the above
ANS: B DIF: 3 REF: Pages 1516 MSC: Applying
Q:
In A Trip to the Moon
a. there are several moving camera shots.
b. there are several times when Mlis cuts to a new angle within a scene.
c. there are more realistic acting performances that clearly differentiate Mlis film from a stage play.
d. Mlis pioneered the use of parallel action.
e. all of the above
f. none of the above
Q:
What aspect of Mliss approach to cinema was LEAST influential on future filmmakers?
a. his innovative use of camera movement
b. his movement toward a narrative cinema
c. his innovative development of special effects
d. his use of elaborate sets and costumes to create a rich mise-en-scne
e. his move toward longer and more complex films
f. All of the above are important areas of influence.
Q:
In which respect is A Trip to the Moon LEAST representative of a cinema of attractions?
a. tableau construction d. direct address
b. static camera e. narrative continuity
c. maintenance of front-angle long shot f. all of the above
Q:
Edwin S. Porter
a. began his film career as a Vitascope projectionist.
b. was first hired by Edison as a mechanic, not a filmmaker.
c. was influenced by Georges Mlis and other European directors.
d. quickly became the primary director and cameraman at Edison.
e. only a and d
f. all of the above
Q:
The first Edison Vitascope program
a. featured several multi-shot films.
b. credited Armat and Jenkins as the inventors of the projector.
c. premiered at the Grand Caf in Paris.
d. predated the Lumires first showing by several months.
e. both c and d
f. none of the above
Q:
The earliest year in which the basic technological principles of motion picture photography and projection were all in place and ready for both artistic and commercial exploitation was
a. 1890. d. 1900.
b. 1894. e. 1902.
c. 1896. f. 1905.
Q:
Early film audiences between 1895 and 1900
a. easily inferred meaning from one scene to the next.
b. were unenthusiastic about the new invention.
c. recognized film immediately as a new art form.
d. watched films in free standing movie theaters.
e. were more interested in the phenomenon of captured motion than in narrative.
f. none of the above
Q:
The first W. K. L. Dickson films
a. were short narratives. d. featured a dynamic camera.
b. were scenes of everyday life. e. were often shot on location.
c. often contained editing. f. none of the above
Q:
The Maltese cross
a. aids in the enlargement of the image.
b. allows for the intermittent motion of film projection.
c. was invented by William Friese-Greene.
d. requires just a single parta notched gear.
e. was invented in the United States.
f. all of the above
Q:
The year that witnessed the most dramatic developments in projection technology across Western Europe and the United States was
a. 1888. d. 1898.
b. 1890. e. 1900.
c. 1895. f. none of the above
Q:
The cinmatographe
a. was invented by Auguste and Louis Lumire.
b. was a combination motion picture camera, projector, and printer.
c. was an experimental device that never made films seen by audiences.
d. was not very portable.
e. both a and b
f. all of the above
Q:
The Lumire Brothers
a. were the first to project films to a paying audience.
b. photographed many well-known vaudeville acts.
c. did not experience commercial success initially.
d. had a background in theater.
e. both b and d
f. all of the above
Q:
The famous Lumire Brothers program at the Grand Caf in Paris included
a. The Sprinkler Sprinkled, Voyage to the Moon, and Arrival of a Train at a Station.
b. Workers Leaving the Lumire Factory, Babys Lunch, and Life of an American Fireman.
c. The Sprinkler Sprinkled, Arrival of a Train at La Ciotat Station, and Babys Lunch.
d. Babys Lunch, Voyage to the Moon, and The Sprinkler Sprinkled.
e. all of the above
f. none of the above
Q:
Actualits was the term first used to describe the films of
a. Mlis. d. the Lumires.
b. Le Prince. e. Edison.
c. R. W. Paul. f. none of the above
Q:
Of the following, who did NOT achieve public projection before 1896?
a. the Lumires d. the Skladanowsky brothers
b. Edison e. none of the above
c. Armat and Jenkins f. all of the above
Q:
The Latham family
a. made money by filming and showing prizefights.
b. contributed to Armat and Jenkinss projector.
c. devised a loop to lessen the stress on the film strip moving through the camera and projector.
d. made possible the production and exhibition of longer films.
e. all of the above
f. none of the above
Q:
The Vitascope
a. was based on Armat and Jenkinss projector.
b. was invented by Thomas Edison.
c. premiered at Koster and Bials Music Hall before the introduction of projection in Europe.
d. projected longer, more narratively complex films than the kinetoscope.
e. both b and d
f. none of the above
Q:
The first true motion picture camera was
a. the bioscope. d. the cinmatographe.
b. the chronophotographic gun. e. the vitascope.
c. the kinetograph. f. none of the above
Q:
Edison was interested in cinematography because
a. he foresaw the development of narrative cinema.
b. he wanted to document everyday life.
c. he wanted to provide a visual accompaniment to the phonograph.
d. he wanted to project silent moving images for mass audiences.
e. both a and d
f. none of the above
Q:
The person who invented the motion picture camera for the Edison company was
a. Thomas Edison. d. Thomas Armat.
b. Louis-Aim-Augustin Le Prince. e. W. K. L. Dickson.
c. Oskar Messter. f. none of the above
Q:
Essential technological features incorporated by Dickson into the first Edison motion picture camera included
a. a stop motion device to create intermittent movement.
b. sprocketed celluloid film.
c. paper film strips.
d. the Maltese cross.
e. both a and b
f. none of the above
Q:
Thomas Edison
a. invented the motion picture camera.
b. directed and photographed the earliest films.
c. designed, built, and worked in the Black Maria.
d. was the first to project films to a paying audience.
e. all of the above
f. none of the above
Q:
The Black Maria
a. was the first movie studio.
b. had a retractable roof.
c. could be rotated on a turntable to follow the sun.
d. was built by Dickson who was also producer, director, and cameraman.
e. all of the above
f. none of the above
Q:
The phenomenon by which a series of still images projected in rapid succession creates the illusion of motion is
a. persistence of vision. d. stroboscopic effect.
b. the phi phenomenon. e. all of the above
c. flicker fusion. f. none of the above
Q:
The phi phenomenon begins to operate at which range of frame rates?
a. 812 d. 3048
b. 1224 e. above 50
c. 2430 f. none of the above
Q:
The amount of time the audience actually spends in total darkness during the viewing of a film as a result of the projectors shutter is
a. 50 percent. d. 25 percent.
b. 0 percent. e. 33.3 percent.
c. 10 percent. f. none of the above
Q:
The Thaumatrope is
a. one of the earliest cameras.
b. a projection device.
c. a childs toy based on persistence of vision.
d. a device for measuring light.
e. both a and c
f. none of the above
Q:
Muybridges first experiments in series photography were designed to prove that
a. motion could be synthesized from a series of still images.
b. shorter photographic exposure times were possible.
c. a galloping horse has all four of its hooves off the ground at some point in its stride.
d. the camera could accurately capture the motion of natural phenomena.
e. all of the above
f. none of the above
Q:
The first series photographs captured by a single camera were taken by
a. Plateau. d. Muybridge.
b. Marey. e. Edison.
c. Nipce. f. none of the above
Q:
Which of the following is NOT true of tienne-Jules Marey?
a. He took the first series photographs.
b. He invented the chronophotographic gun.
c. He switched from glass plates to paper roll film.
d. He never intended to project his series photographs.
e. neither a nor b
f. None of the above are true.
Q:
Celluloid film was invented by
a. W. K. L. Dickson. d. Hannibal Goodwin.
b. George Eastman. e. Louis Lumire.
c. Thomas Edison. f. none of the above
Q:
Sound film is traditionally shot at ________ frames per second.
a. 16 d. 48
b. 24 e. 60
c. 30
Q:
What were the key factors that undermined the golden age studio system?
Q:
What are the key factors in the marketing and distribution of a film?
Q:
Based on the 2016 U.S. box office, identify the demographic composition of the moviegoing audience according to sex, race, and age.
Q:
If a movie cost $150 million to produce, how much additional money will normally be spent on marketing and distribution?
a. $50 million d. $150 million
b. $75 million e. $225 million
c. $100 million
Q:
As an investor, your primary concern regarding a film you are financing is
a. creating a quality film.
b. producing a film that is critically successful.
c. protecting your investment.
d. ensuring that there is continuity across the film.
e. making a film that is aesthetically rich.
Q:
What is the primary function of a script supervisor?
a. to arrange the financing of the film
b. to record details of continuity from shot to shot
c. to cast the actors
d. to oversee the work of the cinematographer
e. to supervise all postproduction activity
Q:
What are the three machines that bring images to the screen in three distinct stages?
a. camera, processor, shutter d. camera, projector, shutter
b. processor, projector, shutter e. camera, shutter, aperture
c. camera, processor, projector
Q:
Describe the significant similarities and differences between the film and digital processes in the production stage of filmmaking.
Q:
Why do the frame rates for silent film vary compared to sound film?
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:
What takes place in the preproduction phase of cinema?
Q:
What takes place in the production phase of cinema?
Q:
What takes place in the postproduction phase of cinema?
Q:
How did the post-1931 film industry organize its filmmaking process?
Q:
Outline the main differences between the operations of the majors and their institutional rivals in the golden age studio system?
Q:
You are a movie producer making an independent film with a budget of $100,000. Which studio are you most likely to be affiliated with?
a. 20th Century Fox d. DreamWorks
b. Universal e. Zeitgeist Films
c. Paramount
Q:
How have movie franchises fed off TV franchises?
a. by giving popular TV characters a larger stage
b. by recognizing that audiences enjoy the development of a single story over a long course of time
c. by identifying which genres are more popular as franchises
d. by identifying new actors that will be popular with audiences
e. by recognizing that hiring the same crew for the whole franchise increases efficiency
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:
The largest foreign consumer of Hollywood films is
a. Germany. d. China.
b. Britain. e. India.
c. Japan.
Q:
Which of the following innovations was met with predictions that it would be the end of cinema?
a. the Kinetoscope d. digital distribution
b. CGI e. the rating system
c. 3-D
Q:
For studio system-era executives, television represented a. a government-sanctioned opportunity to combine film and television production. b. the opportunity to loan out their stars to television companies. c. a threat to lure away their audiences. d. a source of inspiration for scripts. e. a source of inspiration for remakes.
Q:
Film technology involves a mechanical system that moves film stock through several machines: a camera, processer, and a projector. Describe how these three machines bring images to the screen in three distinct stages.
Q:
Outline the primary differences between film and digital technologies. What are the prospects for digital cinema in the contemporary marketplace?
Q:
As a studio producer seeking the largest possible audience for your film, which of the following movie ratings is least beneficial for you?
a. PG-13 d. G
b. R e. PG
c. NC-17