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Visual Arts
Q:
When framing a shot, cinematographers are limited by the aspect ratio, which is the
a. perceived depth of field of an image.
b. relationship between the focal length and the film gauge.
c. size of the projected image.
d. ratio of the width of the image to its height.
e. ratio between the key light and fill light.
Q:
Up until the 1950s, the standard aspect ratio of most 35mm Hollywood films was ________, which is known as the Academy ratio.
a. 1.66:1 d. 1.85:1
b. 1.375:1 e. 2.75:1
c. 2.35:1
Q:
The terms long shot and medium shot refer to
a. the implied distance between the camera lens and the subject being filmed.
b. the duration of a take.
c. the focal length of the lens.
d. the distance between a subject being filmed and the background.
e. the amount of light needed to capture an image on film.
Q:
When an extreme long shot is used to provide spatial context at the beginning of a scene, it is also known as
a. a setup shot. d. a complex shot.
b. a mask shot. e. an establishing shot.
c. a functional shot.
Q:
If you are a cinematographer and the director asks you to photograph just the lips of an actor, what type of shot is she asking for?
a. personal d. close-up
b. point-of-view e. medium
c. extreme close-up
Q:
One of the most difficult challenges cinematographers face when filming traditional two-dimensional imagery is
a. creating the illusion of depth.
b. creating realistic lighting.
c. disguising changes in camera movement.
d. framing great distances.
e. maintaining focus.
Q:
What technique keeps all three planes of the film frame in sharp focus?
a. wide-angle composition d. Russian formalism
b. deep-focus cinematography e. spatial balance
c. deep-space composition
Q:
Hollywood became the center of American film production in part because of
a. its proximity to Mexico.
b. the color temperature of West Coast sunshine.
c. its exotic appeal to audiences.
d. the abundance of sunshine.
e. local access to film equipment manufacturers.
Q:
The use of ________ during filming can manipulate natural light by redirecting it.
a. key light d. silks
b. flags e. bounce boards
c. backlight
Q:
Adjusting the aperture of a camera lens changes the
a. focal length of the lens.
b. implied proximity of the camera to the subject.
c. contrast of the filmed image.
d. amount of light that passes through the lens.
e. color temperature of the light source.
Q:
By 2012, what percentage of the top-grossing feature films were shot digitally?
a. 10 percent d. 60 percent
b. 25 percent e. 75 percent
c. 50 percent
Q:
The ________ lens tends to exaggerate the perceived spatial relationship between the subject and the camera.
a. wide-angle d. normal
b. telephoto e. macro
c. prime
Q:
A film stocks speed refers to its
a. ease of use. d. cost.
b. motion through the camera. e. size.
c. sensitivity to light.
Q:
Since 1968, virtually all Hollywood feature films used ________ film stock.
a. grainy d. black and white
b. stereoscopic e. color
c. fast
Q:
What do you call the fragments of image information that a digital camera captures with its electronic sensor?
a. silver halide crystals d. grips
b. pixels e. gaffers
c. gauges
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:
When mixed together in varying degrees, the three primary additive colors, consisting of ________, can produce all the other colors in the spectrum.
a. red, green, and blue d. brown, black, and green
b. red, green, and cyan e. magenta, red, and yellow
c. black, white, and blue
Q:
Which color film system recorded images on three separate strips of film simultaneously?
a. Kodak d. Monopack
b. Cinecolor e. Fujichrome
c. Technicolor
Q:
A colored filter placed before the lens is often used to correct
a. focus. d. performance.
b. color temperature. e. aspect ratio.
c. framing.
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:
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:
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:
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:
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:
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 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