Q&A Hero

Q: What is plot duration? a. the amount of time that the implied story takes to occur b. the amount of time it takes to summarize the story to someone who hasnt seen the film c. the elapsed time of those events within the story that the film explicitly presents d. the amount of time it takes to shoot the film e. the movies running time on-screen

Q: What is screen duration? a. the amount of time that the implied story takes to occur b. the amount of time it takes to summarize the story to someone who hasnt seen the film c. the elapsed time of those events within the story that the film explicitly presents d. the amount of time it makes to shoot the film e. the movies running time on-screen

Q: Why must filmmakers pay particular attention to screen duration? a. because films technically cannot run longer than three hours b. because the running time of a film is usually dictated by budget as well as audience considerations c. because running time always affects how much an audience is willing to believe a movies story and plot duration d. because a movie must be at least an hour long to effectively depict at least a week of real time e. because a movie must be shorter than three hours long to effectively depict at most a century of real time

Q: In a Hollywood film what is the typical relation of a plot event to a story event? a. A plot event is much longer than a story event. b. A plot event is a little longer than a story event. c. A plot event is equivalent in time to a story event. d. A plot event is a little shorter than a story event. e. A plot event is much shorter than a story event.

Q: What is a summary relationship? a. a brief synopsis of a film b. the background story of a character c. the chemistry between romantic leads d. when screen time is shorter than plot time e. when screen time is shorter than story time

Q: What is the difference between story and plot? a. Story contains only the present events of the film; plot contains past and future events. b. Story contains only explicitly presented information; plot contains explicit and implicit information. c. Story contains no diegetic elements; plot contains only diegetic elements. d. Story contains the explicit and implicit events of the film; plot contains the explicit events in a specifically selected arrangement. e. There is no difference.

Q: Which of the following elements would be considered part of the story but not the plot? a. the opening credit sequence b. the films musical score c. implied action that happens between two scenes d. third-person voice-over narration e. a climactic final showdown between the protagonist and the antagonist

Q: How do viewers understand the relationship between story and plot? a. They piece together the plot through the presented story elements. b. They piece together the story through the presented plot elements. c. They disregard the story in order to focus exclusively on the plot. d. They disregard the plot in order to focus exclusively on the story. e. They care for neither the story nor the plot but instead the narrative.

Q: Which of the following constitutes a significant reason why filmmakers tell stories out of chronological order? a. to conceal the fact that the story makes no sense b. to prevent the audience from enjoying the movie c. to attract attention to an otherwise uninteresting story d. to emphasize importance or meaning e. to experiment with narrative for the sake of it

Q: What is a backstory? a. the exposition of a movie b. the first draft of a movie c. a fictional history behind the situation existing at the start of the main story d. the presentation of events in reverse chronological order e. the experiences or events that spin the action in a new direction in a movie

Q: Why was the structure of Citizen Kane so difficult for audiences of its time? a. It demanded that they care for unsympathetic characters. b. Its distinction between past, present, and future events was highly ambiguous. c. It asked the audience to fill in plot details and order the story out of an elliptical narrative. d. It covered too much historical time for an audience to properly process. e. It never explicitly stated when the events in the story took place.

Q: Which of the following films was greatly influenced by Citizen Kane in terms of plot structure? a. Great Expectations d. Pulp Fiction b. The Social Network e. Gladiator c. 127 Hours

Q: Which of the following would NOT be considered a major event in a film? a. An aspiring actor asks a man on the street for the time as he rushes to get to rehearsal for which he might be late. b. A hermit receives an e-mail from a former friend that forces him to choose whether to see the other. c. A boxer is asked to throw a fight: This is against his principles, but it will allow him a shot at the heavyweight championship bout. d. A captain in the army is ordered to demote a soldier he knows is actually being treated unfairly. e. A writer catches her best friend cheating on her husband, who is also the writers friend.

Q: What is story duration? a. the amount of time that the implied story takes to occur b. the amount of time it takes to summarize the story to someone who has not seen the film c. the elapsed time of those events within the story that the film explicitly presents d. the amount of time it takes to shoot the film e. the movies running time on-screen

Q: Using an example, explain how the integrated musical can be much more effective than the backstage musical in revealing its characters emotional states through song and dance.

Q: Explain the dual tendency of genres as they evolve over time.

Q: What is a crisis in a movie? a. when a film contains no conflict b. when a protagonist must face a seemingly insurmountable obstacle c. when a production goes over budget d. when a narrative remains unresolved e. when a story concerns a social or political issue

Q: Which of the following is NOT an example of a climax? a. the final battle of an epic fantasy film, when the hero agrees to sacrifice his life for the sake of the kingdom b. the last bank robbery among a group of thieves, who must put aside their personal conflicts to achieve success c. the basketball college championship game, in which an unheralded bench player is called upon to save his teams season d. the discovery of a husbands adultery by a domestic housewife, an event that forces her to reevaluate her life and start it over again e. the moment in a romantic comedy when the man somehow humorously prevents a plane from taking off so that he can pronounce his love to the woman he almost let get away

Q: Each script page, right down to page margins and font style and size, should represent how many minutes of screen time? a. 30 seconds d. 3 minutes b. 1 minute e. 5 minutes c. 2 minutes

Q: What is the name for the professional screenwriters who are hired to review a screenplay and improve it? a. rewriters d. script doctors b. contract screenwriters e. revision artists c. spec script writers

Q: Explain how an experimental movie that seems to have nothing to do with human characters or situations can still impart meaning to viewers.

Q: Which of the following is an example of a nondiegetic element? b. voice-over that evokes the present thoughts of a character c. a song emanating from the radio of a characters apartment d. a dress worn by the main character e. the background pedestrians of an outdoor crowd scene ANS: A DIF: Moderate REF: Page 131 TOP: Story and Plot

Q: Name and explain some of Maya Derens innovative contributions to experimental filmmaking.

Q: Explain how experimental cinema continues to thrive in an age dominated by Hollywood blockbusters.

Q: Provide an example of how genres are brought about inadvertently, not through conscious planning but through a cultural response in story form to changes and issues occurring in society.

Q: Why might a filmmaker famous for directing successful gangster films take on as his next project a movie in the romantic comedy genre?

Q: Explain how gangster films are simultaneously romantic and moralistic.

Q: Citing an example, explain how film noir plot structures evoke a feeling of disorientation.

Q: How might a filmmaker design an aliens appearance in order to not only emphasize its malevolent otherness but also reflect on certain aspects of modern technology?

Q: Why do flawed protagonists encourage in all kinds of movie narratives the kind of character development that satisfies audiences?

Q: Using the example of the Western genre, explain the role of myths in amplifying and enlarging upon actual events.

Q: The Lego Movie (2014) is a form of ________ since it imitates or appropriates recognizable stylistic elements from a previous work or works. a. allusion b. parody c. allegory d. pastiche e. symbolism

Q: The Lego Movie (2014) borrowed the distinct style of low-budget, stop-motion animated films known as ________ for its herky-jerky character movement and themes associated with Lego toys. a. animatics b. robotics c. CGI pantomimes d. Legocinematics e. brickfilms

Q: Like Harry Potter, the original Star Wars saga, and The Lord of the Rings trilogy, The Lego Movie is structured around a story mythology known as a. the journeymans quest. d. the protagonists odyssey. b. the heros journey. e. the cycle of stories. c. the villains comeuppance.

Q: Explain how movies that purport to tell a true story adapt the stories they tell so as to serve conventional principles of narrative structure.

Q: Describe some of the various ways movie narratives are shaped by predetermined factors.

Q: Why is there is no such thing as a purely objective documentary?

Q: Which of the following demonstrates the necessity of generic transformation for a continually successful movie genre? a. A movie genre that has undertaken conservative themes retains the same message during a period when Americans are rethinking long-held political principles. b. A movie genre becomes unpopular for appearing relatively old-fashioned and silly to a new generation of filmgoers. c. A movie genre responds to a period of economic turmoil by failing to address, either explicitly or implicitly, anything concerning current events. d. A movie genre is largely made a field for repetitive sequels, while other genres find original ideas by embracing advanced digital video technology. e. A movie genre reinvents itself when a host of young directors decide to use its form to create allegories about Americas war on terror.

Q: Why did the Western genre decline in popularity from the 1960s until the mid-2000s? a. because John Waynes aging and eventual death robbed America of its greatest Western screen hero b. because the increasing use of photographic color diminished the appeal of a genre inextricably associated with black-and-white c. because the genre was seen to be out-of-touch with audiences who had new ideas about moral absolutes, Manifest Destiny, and the role of minorities in settling the West d. because audiences demanded movies in which homosexuals were portrayed as flawless heroes e. because the Western combined generic elements with those of the melodrama and romance

Q: Instead of being described as a distinct movie genre, animation can best be categorized separately from other types of films due to its unique a. narrative patterns. d. lighting techniques. b. process. e. themes. c. characters.

Q: Besides cinematic escapism, what other appeal might films in the superhero genre generally hold for audiences? a. They offer narrative representations of Americans as rugged, self-sufficient individuals taming a savage wilderness. b. They appeal to viewers inner aspirations of affecting meaningful change in a dauntingly complex universe. c. They offer audiences the exhilaration of confronting the dreaded other without the devastating consequences. d. They relieve science-inspired anxiety as their central theme for audiences. e. They are deeply rooted in the concept of the American dream, in which anyone, regardless of how humble his origin, can succeed.

Q: Storytelling is storytelling no matter what your medium is. And the language of film is also the same. Youre still using close-ups and medium shots and long shots. Youre still trying to introduce the audience to a character and get them to care. What is director Brad Bird speaking about here? a. television d. animation b. foreign films e. virtual reality c. musicals

Q: What film claims to be the first fully animated feature-length documentary? a. Chicago 10 (2007) b. Song of the Sea (2014) c. Tower (2016) d. Is the Man Who Is Tall Happy? (2013) e. Waltz with Bashir (2008)

Q: What basic type of animation is also known as hand-drawn? a. cel d. computer b. stop-motion e. 2-D c. 3-D

Q: What was the first feature-length computer animated film? a. Antz (1998) b. Toy Story (1995) c. Monsters, Inc. (2001) d. Final Fantasy: The Spirits Within (2001) e. The Lion King (1994)

Q: The theoretical concept used to explain the unease and discomfort felt by viewers for the motion capture animation in The Polar Express (2004) is known as the a. mysterious basin. b. unnatural depression. c. enigmatic canyon. d. mystifying abyss. e. uncanny valley.

Q: What kind of acting style is appropriate for most Western heroes? a. frenetic d. subdued b. humorous e. angry c. melodramatic

Q: Since the Western inherently concerns the thematic conflict between civilization and the wilderness, its grandiose landscapes typically symbolize a. the monotonous routine of the frontier. b. the confined lives of frontier inhabitants. c. the overwrought emotions of cowboys. d. the alienation of nineteenth-century labor. e. the endless possibilities and untamable environment of the Old West.

Q: What was one of the major solutions to making audiences accept the unrealistic conventions of the musical in a realistic medium like the cinema? a. having characters only sing instead of dance in elaborate choreographed sequences b. using songs from familiar Broadway stage hits c. making the stories of musicals center on backstage musicals where the characters are employed to sing and act anyway d. forcing audiences to sing songs from the musicals while watching in the theater e. limiting musical numbers so that audiences would not be overwhelmed by the artificial elements of the genre

Q: What is the extent to which the musical can combine with other movie genres? a. The musical remains a genre entirely distinct and impossible to integrate with others. b. The musical can be integrated with a wide variety of genres and styles, including action and horror movies. c. The musical can be combined with a limited number of genres: gangster films and film noir exclusively. d. The musical only melds correctly with the romantic comedy genre. e. The musical only melds correctly with melodrama.

Q: Which of the following constitutes a subgenre? a. police films involving the pairing of two partners with completely opposite personalities b. Westerns starring John Wayne c. screwball comedies of the 1930s d. low-budget horror films e. the stylistically disparate yet thematically united films of director Quentin Tarantino

Q: From left to right, which of the following lists a chronology of American comedy? a. romantic comedy; slapstick comedy; light sex comedy b. outrageous farce; gross-out comedy; comedy of wit c. neurotic comedy; screwball comedy; black comedy d. slapstick comedy; screwball comedy; light sex comedy e. musical comedy; sentimental comedy; comedy of wit

Q: What is generic transformation? a. the process by which a particular genre is adapted to meet the expectations of a changing society b. the process by which a particular genre resists the expectations of a changing society c. the process by which a particular genre is transformed by a single innovative director d. the process by which a particular genre splits off into multiple subgenres e. the process by which a particular genre falls into disrepute and irrelevance

Q: What similarities does the horror genre share with the science fiction genre? a. Both speculate on future trends and possibilities. b. Both deal with the transformation of ordinary people into extraordinary beings. c. Both deal with the humans encounter with forces beyond his or her control and understanding. d. Both feature heroes that are typically stoic, courageous, and politically progressive. e. Both are made with the intent to scare and terrify audiences.

Q: Which of the following hypothetical movies exemplifies the horror genres similarities to primitive religion? a. a werewolf movie that mocks the clichs of the subgenre to which it belongs b. a vampire movie that intends less to scare its audience and more to provide it with a romantic love story c. a slasher film that subverts formal elements to such an extent that it could be considered an experimental movie d. a supernatural thriller that makes audience members identify with a character who barely survives an encounter with occult forces e. a zombie film that works first and foremost as a political allegory

Q: Which of the following is a typical feature of horror movie narratives? a. the establishment of a normal chaotic world that will be threatened by the arrival of the other b. the revelation of the other as merely the projection of the protagonists repressed fears c. the prominent use of high-key lighting d. the initial rejection by the protagonist of his or her suspicions of the other e. the destruction or apparent destruction of the protagonist by the other

Q: Which of the following is a typical variation of the basic horror plot structure? a. The other is accepted by the community that it initially terrorized. b. The protagonist comes to recognize that the other is simply a figment of his or her imagination. c. The protagonist and the other join forces to destroy the community. d. The protagonist begins to become the other and eventually faces the decision to either destroy him- or herself or else complete the transformation. e. The protagonist realizes that the other is just as misunderstood as him- or herself, and brings it into his or her life so that both can become benevolent allies.

Q: Which of the following exemplifies the horror movie antagonist as a compelling, three-dimensional character? a. a powerful supernatural force that is never provided with a proper name or fixed identity b. an unstoppable slasher who never speaks and never fully reveals himself to the audience c. a darkly sarcastic human-insect hybrid that increasingly reveals to his victims an inner torment and self-loathing d. a demented madman whose motivations are reduced to textbook psychological clichs and explanations e. a child possessed by a demon that represents pure, unadulterated evil

Q: What kind of lighting is typically used to distort facial features and cast shadows in horror movies? a. Halloween lighting d. natural lighting b. chiaroscuro lighting e. colorful lighting c. bright lighting

Q: Which of the following represents the way characters can embody both the traits of the wilderness and civilization in the Western genre? a. a Native American stereotype meant to symbolize complete savagery b. an outlaw-turned-sheriff who must come to terms with his dark past c. a shy schoolmarm who brings school learning to the outer reaches of the frontier d. a bank robber who must be captured or killed to restore order to the community e. a mysterious, gun-slinging wanderer who never settles in or helps the society of the Old West

Q: What is a movie theme? a. a song heard over and over again on the sound track b. a unifying idea that a film expresses through its narrative or imagery c. a pitch, or short description of the film, presented by the producers to the studios they are trying to get to fund the film d. a recurring element in the story or imagery of the film, such as a lighting scheme or prop e. a type of genre

Q: What is the central theme of the Western? a. the conflict between civilization and wilderness b. the conflict between love and success c. the conflict between parental control and childrens rights d. the conflict between the romanticization and the demonization of the outlaw e. the conflict between conservative and liberal politics

Q: What is a character type? a. a movies protagonist b. a movies antagonist c. a familiar character with a few essential traits that recurs throughout a genre d. an unfamiliar character with a three-dimensional personality that recurs throughout a genre e. a character seen once and then never again in a specific genre

Q: What character type recurs throughout horror films? a. the wise-cracking sidekick b. the prim and proper schoolmarm c. the hardboiled detective d. the naive new kid in town e. the malevolent and differentiated other

Q: How do stars factor into an understanding of genre movies? a. as incidental to their design. b. as absolutely necessary to their definition c. as an unfortunate drawback of the Hollywood system d. as an important factor in their classification and analysis e. as far less worthy of study than the role of directors, producers, and the like

Q: Which of the following was a characteristic of film noir during and after World War II? a. They were top-priority A-movies with large budgets and big stars. b. They were produced to satisfy the governments quota for wartime propaganda to drum up support for the military. c. They were low-budget B-movies where much stylistic risk taking and innovation could be tried out. d. They were critically lauded by American but not French critics. e. They were high-spirited, lighthearted comedies meant to provide audiences with escapism during a difficult era.

Q: Which of the following movies represents the film noir style of cinematography? a. a brooding crime thriller with high-contrast, low-key lighting featuring deep shadows b. a sunny, optimistic musical with low-contrast, high-key lighting featuring bright illumination c. a disturbing science fiction-horror hybrid with pitch-black darkness and scarcely any illumination d. an experimental film with disorienting, washed-out colors and uniform illumination e. a guerrilla-style documentary with grainy film stock that captures natural lighting

Q: Which of the following movies features a film noir protagonist? a. an urban rags-to-riches/rise-and-fall story centered on a young man who ascends the ladder of organized crime to become a top underworld boss b. a tough crime drama in which a jaded private detective falls for the charms of an alluring but deadly temptress who hires him to find her kidnapped husband c. a fast-paced action film starring a muscular hero who defeats a group of terrorists who take over a train station d. an eerie suburban-based movie in which a lonely teenager discovers he can turn into a werewolf during the full moon e. an experimental art film in which a mystery story soon evolves into a meditation on the very nature of photography itself

Q: What is the science fiction genres thematic relationship to issues concerning advanced technology? a. The genre retreats from the potential threats associated with technology by speculating about fantasy worlds in which it does not exist. b. The genre unconsciously champions technology no matter what the ethical cost. c. The genre repeatedly depicts technology as unimportant to society. d. The genre speculates and fantasizes about only the wonders of future technological advancement. e. The genre expresses anxieties concerning technology and its cost to human freedom and even life.

Q: What is the definition of genre? a. the categorization of narrative films by their cost b. the categorization of narrative films by their indebtedness to literary sources c. the categorization of narrative films by featured actors d. the categorization of narrative films by country of origin e. the categorization of narrative films by the stories they tell and the ways they tell them

Q: How do film genres generally tend to originate and develop? a. organically, as inspired by shifts in history, politics, or society b. artificially, as concocted by quasi-scientific marketing teams c. ideologically, as created by filmmakers trying to advance a political platform d. commercially, as thought up by movie theaters in need of familiar hooks to attract moviegoers e. academically, as developed by intellectuals arguing for movies as a legitimate art form

Q: Why have genre films been prevalent since the advent of cinema? a. They are the most challenging kind of movie to produce. b. They are the cheapest kind of movie to produce. c. They immediately possess a preestablished script in the form of the literary sources upon which they are always based. d. They involve little to no creative input from the director. e. They appeal to audiences preference for predictability over novelty.

Q: One significant cultural motive behind attending genre movies lies in a. watching the performance of certain beloved actors. b. enforcing fundamental beliefs. c. recognizing and analyzing specific generic patterns. d. avoiding uncategorizable films. e. therapeutic consolation for problems that remain irresolvable in real life.

Q: Which of the following demonstrates how genre is thought of and employed by the film industry itself in producing movies? a. A studio decides to stop production of a fantasy film because of its similarity to another movie of the same genre. b. A director with no experience shooting Westerns is chosen to helm the production of the biggest Western in the last several decades. c. An actor associated in the publics mind with the persona of the tough-talking, no-nonsense private detective is hired to play the latest version of film noir hero Philip Marlowe. d. The sets featured in a recent romantic comedy are reused by another with only slight variations. e. The current rise in child-oriented movies forces several producers to go with risky, adult-themed scripts in reaction to what they see as a passing fad.

Q: How are conventions enforced in genre films? a. To the letter: Every conventional generic element must be present in the movie for it to be of a particular genre. b. Strictly: At least five conventional generic elements must be present in the movie for it to be of a particular genre. c. Obscurely: Only scholars and critics are allowed to deem a movie of a particular genre depending on the conventional elements it incorporates. d. Perfectly: No genre movie has ever wavered from a set formula. e. Somewhat: Conventions are not enforced, and while every movie within a particular genre will incorporate some of its elements, few include all conventions.

Q: Which of the following is part of the story structure of a typical romantic comedy? a. When two protagonists meet, it is love at first sight. b. Two protagonists fall in love due to extreme compatibility. c. Two protagonists must overcome obstacles to their relationship. d. Two protagonists enter into marriage without really knowing each other. e. When the two protagonists relationship appears doomed, they both make a grand gesture that reunites them.

Q: What is the purpose of persuasive documentary films? a. to present people or processes in straightforward ways, without unduly influencing audiences b. to present a particular perspective on social, political, environmental, and other issues c. to educate audiences about shared concerns or interests d. to carry a political message from a government. e. to take the audience into a completely fictional or artificial film realm

Q: Footage that documents subjects (the people the documentary is about) in action and events as they unfold is known as a. primary footage. d. narrative voice. b. b-roll. e. interviews. c. interior perspective.

Q: What characteristic of notable documentary movies has allowed them to enjoy unprecedented popular and critical success in recent years? a. big budgets b. controversy c. a refusal of narrative d. voice-overs by famous actors e. hybridity of foundational approaches to nonfiction filmmaking

Q: Which of the following does film scholar Fred Camper say is a characteristic that most experimental films share? a. commercial intent b. an impersonal style and sensibility c. conformity to narrative conventions d. a noncritical stance toward culture and media e. an invitation to individual interpretation