Q&A Hero

Q: Explain how the first high school scene in Donnie Darko manipulates time for thematic effect.

Q: Which of the following was a characteristic of the avant-garde movement in France in the 1920s? a. surreal content d. a critique of capitalism b. objective observation e. a desire to please c. an abundance of actors

Q: Which of the following is one of the meanings of the word narrative in regard to movies? a. a nonsequential organization of events in a movie b. the topic that a particular film tells c. a character who narrates events in the film through voice-over d. the particular system by which a fictional story is structured e. a concept describing the theme presented in almost any kind of movie

Q: Which of the following films would be considered part of the self-reflexive strain of experimental cinema? a. a film in which a city during the evening is shot as a play of light and color b. a film that pokes fun at classical Westerns by irreverently editing together John Wayne films c. a film in which a filmmaker records daily scenes of his own life in a fragmented, oblique fashion d. a film that explicitly yet poetically documents acts of lesbian eroticism e. a film that animates abstract shapes to the tune of a Bach sonata

Q: Why do human beings continually create narratives out of various facts and details? a. because narratives inherently convert storytelling material into propaganda to instill in others a particular political point of view b. because narratives are the most efficient way of disseminating and communicating all information c. because without narrative, people would not be able to make sense of the world around them d. because narrative style is the same all over the world, and thus to use narrative is to universalize particular experiences e. because by framing and presenting information we use narrative to arrange and understand the world and our place in it

Q: How have narrative feature films incorporated into themselves documentary filmmaking techniques? a. by using small crews, natural lighting, handheld cameras, and nonprofessional actors b. by tackling issues of political and social importance c. by being informed by painstaking research d. by interrupting the narrative flow with interviews of experts in the field that the film is examining e. by being made with extremely small budgets

Q: How is the term narrative used in a broad conceptual context? a. to denote any cinematic structure in which content is selected and arranged linearly b. to apply to any film that has characters c. to categorize only Hollywood films that adhere to a five-act structure d. to designate only experimental films that have no discernible story or action e. to rethink films in relation to literature, painting, music, and the like

Q: Which of the following is an example of a film employing narrative organization in a way that goes against the arrangement of events in conventional order? a. A film possesses an exposition, rising action, climax, falling action, and denouement. b. A films material is chosen and organized so that one event leads to another in a recognizable progression. c. A film jumps from scene to scene so that events proceed, not in chronological order, but rather according to poetical associations. d. A film advances linearly from scene to scene by following a character throughout the course of her day. e. A film documents the development of a protest movement by following several participants in dramatic fashion.

Q: Why can it be said that nearly every movie, regardless of genre or type, employs at least a semblance of narrative? a. because all art is narrative b. because the linear nature of movies lends itself to structures that possess some form of progression c. because all movies contain characters and recognizable situations d. because all movies follow the same formula for structured action e. because of the way audiences have been taught to understand art, which forces them to transform seen, read, or heard material into a story

Q: Why can categorizing movies into strict classifications be problematic? a. because classifications are useless b. because there is no general agreement concerning classifications c. because classifications have nothing to do with film form d. because only experts can classify movies e. because many movies defy exact classification by any standard

Q: Which of the following is one of the primary concerns of documentary filmmaking? a. the recording of reality b. the commercial return on investment c. the coordination of lighting design and camera movement d. subjective truth e. the creation of fictional events

Q: Which of the following demonstrates how documentary filmmaking inherently entails the creative treatment of actuality? a. A director decides to simply base a fiction film on a true story rather than shoot a real-life subject because of potential legal repercussions. b. A scriptwriter loosely incorporates into a fiction films action the facts of a well-known historical event. c. A director captures events behind the scenes of a political campaign and edits his footage so as to portray the candidate in a harsh light. d. A producer withdraws funding from a documentary that dares to investigate the ramifications of mass-marketed baby food. e. A cinematographer decides to record the events at a bustling marketplace by simply setting up her camera from one angle and shooting footage for an hour.

Q: One of the four basic approaches to documentary filmmaking is a. fictional. d. demonstrative. b. comprehensive. e. propaganda. c. entertainment.

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: What does mediation have to do with the way the camera captures and represents the outside world?

Q: Compare Richard Linklater's Boyhood with the baptism scene from The Godfather. Which manipulates time for expressive effect, and which does so more for pragmatic storytelling purposes, and how?

Q: In order for viewers to identify with Donnie Darkos struggle to navigate the bizarre cosmic quest thrust upon him, the filmmakers portray his normal world and mundane existence through a. antirealism. d. idealism. b. formalism. e. realism. c. romanticism.

Q: Explain how a movie scene might synthesize elements of mise-en-scne, sound, narrative, and editing to intentionally construct and express meaning.

Q: A satirical scene from a romantic comedy features its protagonist daydreaming of his love interest as an angel floating through the air. A slow-motion shot of this woman captures her through a gauzy filter with soft lighting as an overblown choral arrangement plays on the sound track. What is the content of the scene, and what is the form used to express it? Why might such formal elements have been chosen to express the content?

Q: Why is it important to recognize the formal differences and similarities among works of art that possess related or even the same content?

Q: What is the danger in solely analyzing the content of movies?

Q: How does Alfred Hitchcocks concept of the MacGuffin play upon audience expectations?

Q: How do patterns and expectations relate to one another?

Q: How might a films lighting influence the audience to feel about a character? Offer an example from the textbook and an example of your own.

Q: Explain why it is when we watch a movie, although we are usually unaware of it, we are actually watching a screen with nothing projected on it at all.

Q: Explain, in brief, why it is that movies do not really move but only seem to be moving.

Q: How are plays and movies different from each other in regard to the way they usually represent space?

Q: Use an example of a specific cinematic technique to explain how the camera eye mediates between the world and us.

Q: Frank, the grotesque bunny figure in Donnie Darko, is an example of a. realism. b. antirealism. c. the border between realism and antirealism. d. the extreme margins of realism. e. the extreme margins of antirealism.

Q: Donnie Darko uses a simple ABABAB shot/reverse-shot pattern in one driving scene ultimately to achieve what dramatic effect? a. complacency d. shock b. comedy e. grief c. anger

Q: The parallel action sequence that alternates between shots of a community talent show and the burning down of a mansion in Donnie Darko compels viewers to perceive what meaningful connections in these apparent contrasts? a. elation with grief d. capitalism with socialism b. conformity with rebellion e. rejection with sacrifice c. pleasure with boredom

Q: In the first high school scene in Donnie Darko, the relentlessly moving camera shifting between normal, fast, and slow motion serves as a visual representation of which of the following concepts? a. the fluid nature of time d. the inevitable nature of time b. the predictable nature of time e. the realist nature of time c. the rigid nature of time

Q: What is the definition of verisimilitude? a. the appearance of being true or real b. an unconvincing appearance of truth c. the inaccurate portrayal of the world we live in d. the accurate portrayal of the world we live in e. exact duplication

Q: Audiences expectations in regard to reality a. always stay the same. b. change across time and cultures. c. change only when an epochal shift occurs in the fabric of society. d. are usually dictated by box office performance. e. are rarely taken into account by filmmakers.

Q: How does The Shape of Water employ cinematic verisimilitude? a. by only using for its fantastic premise real scientific methods and procedures b. by basing the film on real historical events c. by reveling in artifice and not choosing to make its special effects look seamless or spectacular d. by making the motivations of the cleaning woman and water creature specimen entirely implausible e. by having the audience become emotionally invested in an interspecies romance between a cleaning woman and a water creature specimen in a government research center

Q: Which of the following is NOT an example of cinematic verisimilitude? a. a horror movie that makes a scary monster into a completely believable screen presence b. a sci-fi movie that makes a fantastic premise seem entirely plausible within the internal logic of its own story c. a romantic comedy in which the characters actions conform to what people understand and expect of human behavior d. an action thriller that is gripping precisely because it could conceivably take place in real life e. a bizarre, alienating film containing absurd and inconceivable events that prevent its audience from becoming absorbed in any sort of fictional world

Q: Films that succeed in seeming verisimilar across cultures and generations often a. fail at the box office. b. have to carefully consider what will be convincing as truth in the future. c. need Hollywood resources in order to look plausibly realistic. d. enjoy the sort of critical and popular success that prompts people to call them timeless. e. have to be domestic dramas but never science fiction or other sorts of fantasy films.

Q: What is meant by cinematic language? a. the way cinema uses preexisting languages, such as the written word, to communicate meaning b. the accepted systems, methods, or conventions by which the movies communicate with the viewer c. the various ways characters speak on screen d. the way critics and scholars discuss cinema e. the way the general public discusses the cinema

Q: Which of the following demonstrates how cinematic language becomes individuated and complex? a. A movie combines a variety of elements such as lighting, sound, and acting into a single shot. b. A movie uses individual elements so that they retain their conventional, generalized meaning. c. A movie refuses to combine elements or even possess more than one shot. d. A movie juxtaposes shots in particular contexts, creating scenes and sequences. e. A movie only uses text to communicate meaning to the viewer.

Q: The conventions of cinematic language represent a sort of ________ between the filmmaker and the audience about the mediating element between them: the shot. a. agreement d. verisimilitude b. conflict e. realism c. formalism

Q: Why do cinematic conventions represent a certain agreement between the filmmaker and the audience? a. because they represent a common, shared cinematic language that can be both used for familiar purposes and reimagined for newer ones b. because they represent an exclusive cinematic language that is only familiar to the filmmaker, and thus ungraspable by his or her audience c. because they represent a cinematic language familiar to the filmmaker that can then be communicated to an audience that is ready to learn it d. because they represent a cinematic language unfamiliar to the filmmaker, who works unconsciously to reach an audience that can then translate his intentions into words e. because they represent a cinematic language unfamiliar to both filmmaker and audience: the film itself mediates between them

Q: Which of the following demonstrates the way a filmmaker can employ both convention and innovation? a. by producing a shot-by-shot remake of a beloved classic b. by producing a thoroughly original film without any historical precedent c. by shooting a scene in a traditional style for unusual narrative purposes d. by refusing to work with trained actors and technicians e. by writing his or her own scripts as well as directing them

Q: What accounted for Donnie Darkos increased popularity on VHS and DVD after being a box office dud in 2001? a. repeated viewings of the film by audiences b. the reassessment of the film by critics after they originally gave it negative reviews c. the lead actors on-again, off-again trouble with the law d. the directors following film, which was a blockbuster success e. the films running time, which was cut down to a more manageable length for VHS and DVD

Q: The French filmmaker(s) who established the realistic direction of cinema was (were) ________, while the French filmmaker(s) who established the antirealistic direction of cinema was (were) ________. a. D. W. Griffith; Georges Mlis b. Georges Mlis; the Lumire brothers c. Georges Mlis; D. W. Griffith d. Edwin S. Porter; Thomas Edison e. the Lumire brothers; Georges Mlis

Q: Antirealism is defined as an interest in or concern for a. the actual or real, with a tendency to view or represent things as they really are. b. the speculative and fantastic. c. problems that cannot be solved. d. naturalistic performances and dialogue. e. abrasive or aggressive art.

Q: What are expectations associated with realistic characters? a. that they do things that conform to what we understand of real people b. that they do things that are continuously heroic and brave c. that they are always physically attractive and likeable d. that they constantly surprise us with actions that have no basis in logic or reason e. that they are always working-class people

Q: Why can it be said that realism in movies is a kind of illusion? a. because there is no such thing as reality b. because realism ceased to exist as a viable artistic approach decades ago c. because nothing captured on camera and projected on screen can technically be defined as real d. because no matter how similar to our experience of the world it might appear, realism always entails mediation e. because the concept of realism has always remained the same throughout the history of the arts

Q: Which of the following would be considered an antirealist element in the realist film Beasts of the Southern Wild? a. the loosely structured story of a young girl and her hotheaded father b. shooting on location c. giant horned beasts encased inside icebergs d. the use of handheld cameras e. the use of light-sensitive film stock

Q: In film theory, what does the concept of mediation mean? a. Film is a medium through which visual information is captured and represented. b. Film is a significant tool by which the news media creates ideological material. c. It refers to the bargaining process by which film companies and unions negotiate contracts. d. It refers to the cinematic apparatus as a collective entity. e. It refers to the process by which an agent, structure, or other formal element transfers something from one place to another.

Q: How is cinemas ability to manipulate space effectively demonstrated in the cabin-on-the-edge-of-a-cliff sequence in The Gold Rush? a. Charlie Chaplin gracefully uses his body within the frame to convey a sense of both slapstick and pathos. b. Gliding camera movements evoke the feeling of the chaotic elements of nature surrounding the cabin. c. Suspense is created because individual shots have been edited together to create the illusion that the cabin and the cliffs edge form part of a complete space. d. The use of montage makes it appear as if events taking place miles apart from each other are occurring at the same time. e. Special effects trick one into thinking that two characters who have never even met inhabit the same space.

Q: Directors Fernando Meirelles and Ktia Lund use crosscutting techniques in City of God in what unique way? a. split screen d. bullet time b. freeze frame e. fast motion c. verisimilitude

Q: How does the baptism scene from The Godfather give the sense that different actions in locations are occurring simultaneously? a. by the continuity of particular actions, dialogue, and music b. by the discontinuity of all the scenes disparate elements c. by the chaotic, uneven cutting of the scenes separate shots d. by the uncoordinated sound track and visual information e. by the jarring, unsynchronized occurrences of sacred and profane acts

Q: The climactic gunfight in The Killer demonstrates how cinema a. fosters the suspension of disbelief. b. condenses time within scenes. c. complements visual action with sound and music cues. d. extends time within scenes. e. matches screen time with real time.

Q: Which of the following is an example of cinematic manipulation of space? a. the shooting of a scene with gauzy filters b. an abrupt cut that moves the action of a movie forward thousands of years in the future c. the clever editing of sequence to make it appear as if all shots were taken in the same room when in reality they were not d. dramatic, shadowy lighting e. deliberately and painstakingly choreographed actors

Q: Why do director John Woo and editor Kung Ming Fan alternate between elegant slow motion and bursts of fast motion in capturing violent gun battles in The Killer? a. to purposefully confuse the viewer b. to draw attention to the artifice of filmmaking c. to give their fight scenes a dizzying kinetic energy d. to distract the audience into thinking something is happening that is not e. to attempt to capture the extremely rapid movement of bullets projecting through space

Q: Which of the following is an example of cinematic manipulation of time? a. a rapid tracking shot through a confined alleyway b. the extension of various shots so that a scenes screen duration becomes longer than the purported time of its events c. the complex interweaving of several shots to provide multiple views of the same subject d. an animated sequence within a live-action film e. a film containing several long takes

Q: What is a freeze-frame? a. a static composition b. a shot featuring no human subject c. a still image shown on-screen for a period of time d. a tableaux of actors arranged to depict a famous painting e. a breaking of the fourth wall

Q: Which of the following helped inspire the first motion pictures? a. the realist impulse of the visual arts b. the antirealist impulse of the visual arts. c. the nonrealist impulse of the visual arts d. the surrealist impulse of the visual arts e. the corporeal impulse of the visual arts

Q: How do movies use the elements of time and space? a. Movies mainly manipulate time and only slightly manipulate space. b. Movies only slightly manipulate time and mainly manipulate space. c. Movies mainly manipulate time and do not manipulate space at all. d. Movies mainly manipulate space and do not manipulate time at all. e. Movies manipulate both space and time.

Q: On the movie screen, how do space and time relate to one another? a. Space and time are relative to each other. b. Space and time have nothing to do with one another. c. Space and time only occasionally play interrelated roles. d. Space and time operate together but are perceived separately. e. Space and time function individually in alternating sequences.

Q: Which of the following does NOT demonstrate the movie principles of dynamization of space and/or spatialization of time? a. During a movie scene in which two characters meet at a bar, the action suddenly flashes forward to their later rendezvous at an apartment. b. During a movie scene, a close-up focuses the viewers attention on one characters lips. c. A live, theatrical drama is presented in which scenes play out on a single set meant to depict a city police station. d. A movie chase sequence is slowed down so that it looks like it is taking place underwater. e. A movie scene is cut so that the viewer sees the characters interact with each other from multiple angles.

Q: Which of the following is a way in which movies can manipulate time? a. presenting events in chronological sequence b. presenting events from a single perspective c. playing with shadow to imply character state of mind d. slowing down action e. magnifying a minute detail within a landscape

Q: If a character in a movie scene were to drop out of the frame, a viewer would most likely interpret this to mean that the character was a. exiting a theatrical setting in which the action is taking place. b. disappearing in physical existence. c. leaving the story, never to return. d. moving to another part of the established space. e. dropping out of one shot in order to immediately reposition himself for another one.

Q: Why would movies be largely incomprehensible if we didnt automatically identify with the camera lens? a. because the startling movements of the camera through space would appear to have no connection to the way we actually see b. because we would think that everything happening on screen was being watched by a deity or an invisible person c. because the camera lens is infallible while the human eye is error-prone d. because we would wonder exactly who or what was operating the camera e. because we would otherwise identify with the characters

Q: How do patterns operate in the chase scene in D. W. Griffiths Way Down East? a. The characters repeat the same set actions. b. Parallel editing is used to make different lines of action appear to be occurring simultaneously. c. Distinct lighting schemes are used to differentiate the various settings from one another. d. The same song plays at particularly dramatic moments. e. Shot durations remain the same throughout.

Q: In what way does The Silence of the Lambs use patterns in the scene of an FBI team preparing to storm a house? a. A specific editing pattern used throughout the film is adhered to, thus confirming viewer expectations. b. A specific editing pattern used throughout the film is replaced with a new one, thus re-creating viewer expectations. c. A specific editing pattern used throughout the film is at first violated and then adhered to, thus confusing viewer expectations. d. A specific editing pattern used throughout the film is at first employed and then broken, thus thwarting viewer expectations. e. A specific editing pattern used throughout the film is satirized, thus mocking viewer expectations.

Q: Which of the following demonstrates the way patterns can be broken for dramatic and expressive purposes? a. A succession of close-ups is followed by a wide-angle shot of a desolate landscape. b. A conversation between two characters never wavers from a series of alternating over-the-shoulder shots. c. An action sequence consists entirely of a rapid burst of shots portraying one character running after another. d. A scene of a character receiving news of a loved ones death is shown in a single static shot. e. A montage of people building a house exclusively features shots of hands holding and working with tools.

Q: Why is light the essential ingredient in the creation and consumption of motion pictures? a. Light allows color to be recorded and seen. b. Light prevents film stock from decaying over time. c. Movie images are made when a camera lens focuses light onto film stock and when movie theater projectors transmit motion pictures as light. d. Sound recordings are actually created via the manipulation of light. e. It isnt; since shadow play, photography, and other moving-image arts use light to create their effects, film is far from unique in employing it.

Q: How does lighting function in the scene between Tom, Casy, and Muley in The Grapes of Wrath? a. It obscures the characters so that the viewer has just as difficult a time seeing them as they do themselves. b. It contrasts the dark background and Muleys haunted face, which is illuminated by a flickering candle, thus revealing the despairing state of mind of the characters. c. It depicts with harsh lighting the ruin of the withered fields that led to the characters ruin. d. It depicts with bright lighting the happy-go-lucky attitude of the characters during one of their liveliest moments. e. It throws eerie shadows on the wall, thus evoking an image of horror that is as scary to the audience as to the characters on-screen.

Q: The overly symbolic light of a single candle in The Grapes of Wrath reflects what collective state of mind? a. exuberance d. logic b. despair e. strength c. mystery

Q: In terms of their role in movies, what is the difference between light and lighting? a. Light is responsible for the image we see on the screen; lighting is responsible for significant effects in each shot or scene. b. Light is responsible for significant effects in each shot or scene; lighting is responsible for the image we see on the screen. c. Light is necessary for the production of movies; lighting is useful but not necessary for the production of movies. d. Light cannot be manipulated for the production of movies; lighting can be manipulated for the production of movies. e. Light can be manipulated for the production of movies; lighting cannot be manipulated for the production of movies.

Q: How is it that movies appear to be moving? a. by projecting a quick succession of still photographs called frames b. by projecting light on the screen so that it illuminates every other celluloid frame c. by using rapid editing patterns d. by means of two simultaneously working projectors e. by a strobe effect that tricks the spectators eyes

Q: What is the standard rate by which films are still shot and projected? a. 12 frames per second d. 30 frames per second b. 18 frames per second e. 36 frames per second c. 24 frames per second

Q: Which recent film trilogy has experimented with higher frame rates? a. Star Wars b. The Hunger Games e. Batman c. The Hobbit d. The Matrix

Q: Rather than being separate entities that come together to produce art, form and content are instead a. two individual elements that can never combine to produce art. b. two conflicting elements that should always be analyzed distinctly from one another. c. two interrelated aspects of the entire formal system of a work of art. d. two different names for the same formal element. e. two similar elements that perform different functions in different works of art.

Q: In Hollywood, producers and screenwriters assume that audiences decide whether they like or dislike a movie a. before it even begins. b. within its first 10 minutes. c. before the third act. d. when it ends. e. once they have had time to reflect upon it afterward.

Q: Once a narrative begins, expectations make viewers ask questions about a. the directors intentions. d. the critics reception. b. the movies worth. e. the storys outcome. c. the narratives theme.

Q: Screenwriters often organize a films narrative structure around the viewers a. desire to learn the answers to important questions. b. disinterest in learning the answers to important questions. c. engagement with issues beyond the scope of the story. d. familiarity with a wide range of references and allusions. e. longing for instant gratification and/or catharsis.