Accounting
Anthropology
Archaeology
Art History
Banking
Biology & Life Science
Business
Business Communication
Business Development
Business Ethics
Business Law
Chemistry
Communication
Computer Science
Counseling
Criminal Law
Curriculum & Instruction
Design
Earth Science
Economic
Education
Engineering
Finance
History & Theory
Humanities
Human Resource
International Business
Investments & Securities
Journalism
Law
Management
Marketing
Medicine
Medicine & Health Science
Nursing
Philosophy
Physic
Psychology
Real Estate
Science
Social Science
Sociology
Special Education
Speech
Visual Arts
Visual Arts
Q:
A scene's axis of action shifts as the characters move around the set.
Q:
The term shot/reverse shot refers to cutting back and forth across the axis of action.
Q:
A match on action is a common method of breaking the axis of action.
Q:
Most shot/reverse-shot cuts utilize the eyeline match.
Q:
Flashbacks are the most common departure from a 1-2-3 temporal order in Hollywood continuity films.
Q:
Overlapping editing expands story duration.
Q:
In the sequence at the gas station in The Birds, Hitchcock utilizes a long and slow camera movement to reframe the complex action.
Q:
Editing is the most effective technique for controlling a viewer's attention.
Q:
A battle scene will typically utilize what editing pattern to show what the opposing groups are doing at any given moment?
Crosscutting
B. Shot/reverse shot
C. Graphic matches
D. Eyeline matches
Q:
Which of the following is NOT used to produce an elliptical transition? A. Fade-out B. Montage sequence C. Dolly shot D. Cut
Q:
Films that use a great deal of editing are more "cinematic" than those that rely mostly on long takes.
Q:
The 180-degree system is designed to A. ensure consistent screen direction across cuts. B. create smooth, unnoticeable matches on action across elliptical cuts. C. allow the camera to cut from action in one location to action elsewhere. D. avoid cutting in the middle of a camera movement to a static framing.
Q:
A cheat cut involves
A. crossing the axis of action by 30 degrees and then matching on action to guide the eye.
B. "cutting" the film in the camera so that actual splices are not needed.
C. splicing together two shots taken from the same framing but with an ellipsis.
D. a slight mismatch in the positions of mise-en-scene elements.
Q:
Crosscutting typically
A. provides a greater degree of continuity than a shot/reverse shot does.
provides more knowledge of narrative events than other types of editing.
C. provides less knowledge of narrative events than other types of editing.
D. demands a great deal of matching on action for events to be clear.
Q:
In the continuity system, a montage sequence usually
compresses a lengthy series of actions into a few moments.
B. generates suspense during a last-minute rescue situation.
C. serves as a brief epilogue to the main narrative.
D. uses eyeline matching to guarantee clear spatial relations among shots.
Q:
Precise graphic matching in a narrative context is typical of the films of A. Stan Brakhage. B. Yasujiro Ozu. C. Andy Warhol. D. Bruce Conner.
Q:
Which of the following is NOT a significant alternative to the techniques of the continuity system?
A. 360-degree space
B. Nondiegetic inserts
C. Jump cuts
D. Cheat cuts
Q:
Which of the following is NOT characteristic of the editing in Sergei Eisenstein's October? A. Graphic discontinuities B. Establishing shots C. Crosscutting D. Unclear temporal relations
Q:
In Citizen Kane, Orson Welles utilizes what kind of transition between the deathbed sequence and the "News on the March" sequence? A. Fade-in B. POV shot C. Graphic mismatch D. Match on action
Q:
Digital intra-frame editing allows filmmakers to alter space by A. intercutting two unrelated images to imply a compression of time as well as space. B. layering parts of different shots into a single shot. C. splicing together multiple frames and using traveling mattes to produce a fast-forward effect. D. utilizing mismatched shots in a conversation sequence to hide their flaws.
Q:
Kuleshov typically utilized what editing technique to create a sense of spatial proximity between shots?
A. Shot/reverse shot
B. Crosscutting
Eyeline match
D. Reframing
Q:
A match on action
carries a single movement across two or more shots.
B. smoothes the transition across a jump cut.
C. provides a way of avoiding the 180-degree rule.
D. allows for cheat cuts without violating continuity.
Q:
In Rear Window, POV editing A. provides the viewer with omniscient access to the murder. B. confuses the viewer concerning the actual location of Jeff. C. restricts the viewer to Jeff's range of knowledge. D. introduces unrestricted access to all of the occurrences in Thorwald's apartment.
Q:
Contemporary filmmaking differs from that of classical Hollywood in all the following ways except A. more frequent use of close-ups. B. less crosscutting. C. fewer establishing shots. D. increased use of telephoto lens.
Q:
Rear projection seldom creates convincing depth cues in the frame.
Q:
A zoom lens allows filmmakers to magnify or minimize objects without changing perspective relationships in the shot.
Q:
A "long take" is a shot taken with the camera at a considerable distance away from the main subject of the shot.
Q:
"Day-for-night" technique involves shooting outdoor day scenes at night.
Q:
An ordinary modern Hollywood film typically contains about
A. 100 to 200 shots.
B. 5,000 to 10,000 shots.
C. 40,000 to 50,000 shots.
D. 1,000 to 3,000 shots.
Q:
Which of the following is NOT a type of transition from one shot to another? A. A dissolve B. A glide C. A wipe D. A fade
Q:
In the scene of the gas-station explosion in The Birds, the editing employs A. strong graphic matching. B. conflicting graphic qualities. C. brief dissolves to create a montage sequence. D. systematic crossing of the axis of action.
Q:
Lev Kuleshov's discovery, termed the "Kuleshov effect," suggests that A. regular graphic matching always enhances the narrative clarity of a scene. B. the spectator's center of attention should be kept in the middle of the screen from one shot to the next. C. even if no establishing shot is shown, spectators will still assume that objects in separate shots are near one another. D. spectators tend not to notice editing if matches on action and shot/reverse shots are consistently used.
Q:
Crosscutting is an editing technique that
alternates between simultaneous shots in two separate spaces.
B. moves back and forth across the axis of action.
C. introduces flashbacks by direct cuts rather than dissolves or fade-outs.
D. alternates long-shot views with extreme close-ups.
Q:
A temporal ellipsis in editing A. repeats an action to extend time. B. shows parallel actions to repeat time. C. eliminates part of the action to condense time. D. creates a smooth match on action to eliminate time.
Q:
What change in continuity editing has occurred to adapt to the increased number of shots used in films since 1960? A. Increased use of establishing shots B. More frequent motion of the camera C. Less use of telephoto lenses D. More distant views of characters
Q:
The technique of overlapping editing consists of A. cutting away to action happening elsewhere. B. expanding the scene by showing more than one view of the same action. C. placing a small portion of one strip of film over another in order to make a splice. D. making scene changes so rapidly that the audience cannot see what is happening in the individual shots.
Q:
Continuity editing is a system for
A. rapidly editing on video as the film is being shot.
B. creating a regular rhythm for a scene.
C. making shots progressively more rapid during a scene.
D. for keeping the spatial and temporal relations of a scene clear.
Q:
Which of the following is NOT a characteristic of the 180-degree system? A. It keeps part of the background consistent from shot to shot. B. It ensures constant screen direction from shot to shot. C. It ensures a temporal overlap from shot to shot. D. It avoids crossing the axis of action.
Q:
The opening scene of The Maltese Falcon showing the office of detective Sam Space contains examples of what type of editing?
A. Crosscutting between Sam's office and the bridger
B. Montage sequence of Effie's childhood
C. Rhythmic cutting between the office window and Effie's entrance
D. Shot/reverse shot during the conversation between Effie and Sam
Q:
The Lumire brothers' early camera was too bulky and heavy to take on location, leading them to shoot exclusively in a film studio.
Q:
The axis of action is A. an imaginary vertical line down the center of the screen around which the characters are clustered to preserve a graphic circle. B. an imaginary 180-degree line between the main characters that determines where the camera should be placed to preserve continuity. C. an imaginary 30-degrees line between the main character and the camera that determines where the camera should be placed for close-ups. D. a chalk line marked on the floor to show how far away from the camera the actor should be.
Q:
A digital colorist adjusting an image's tonality in postproduction has the ability to A. use a color timer or grader to change a print's color range. B. adjust color in specific parts of the frame and maintain that adjustment. C. hand color certain parts of a shot. D. dip the developed film into a bath of dye to change the color.
Q:
A moving circular mask that opens to reveal a scene or that closes to conceal a scene is called
A. an eye mask.
B. a lens.
C. a filter.
D. an iris.
Q:
Viewers are most aware of off-screen space when
it creates surprise or suspense.
B. a character looks or gestures at something happening off-screen.
C. a character is unaware of what is happening off-screen.
D. it has been shown several times in the film.
Q:
A medium shot frames the body A. from the chest up. B. from the knees up. C. from the waist up. D. from the neck up.
Q:
In a crane shot, the camera moves
A. in any direction along the ground.
above the ground level.
C. diagonally.
D. in circles.
Q:
What type of camera movement swivels the camera horizontally on a vertical axis?
A. Crane
B. Dolly
C. Tilt
D. Pan
Q:
Shots in which a filmmaker prefers bumpy over smooth camera movements are usually created
A. by the operator walking with a handheld camera.
B. in the postproduction phase.
C. with a camera mounted to a dolly.
D. by the operator deliberately jerking the camera up and down rapidly.
Q:
Which of the following is NOT true of an extreme close-up? A. It singles out one portion of a character's face. B. It focuses on a character from the waist up. C. It isolates an object. D. It magnifies an object.
Q:
A low-contrast image displays a wide range of grays.
Q:
The range of tonalities in the image is most crucially affected by the exposure of the image during filming.
Q:
Slow motion is achieved by decreasing the number of frames per second shot.
Q:
Wide-angle lenses are also referred to as "telephoto" lenses.
Q:
A long-focal-length lens tends to squash the planes of action together, reducing the impression of depth.
Q:
"Racking focus" refers to adjusting the camera to change the plane that is in focus.
Q:
Which group of filmmakers is typically associated with the long take?
Orson Welles, Kenji Mizoguchi, Andy Warhol, and Gus van Sant
B. Howard Hawks, Buster Keaton, Robert Bresson, and Louis Lumire
C. Georges Mlis, Akira Kurosawa, Abel Gance, and Sergei Eisenstein
D. Erich von Stroheim, Samuel Fuller, Alain Resnais, and Richard Lester
Q:
Digital grading allows for altering the color of shots in postproduction.
Q:
The speed of motion presented on-screen depends on
A. the number of frames per second of celluloid used.
B. the rate of projection alone.
the rate of shooting and the rate of projection.
D. frame size and shape.
Q:
Deep-focus cinematography was popularized in 1940s in part by
A. Gone with the Wind.
B. The Crime of M. Lange.
C. The Wizard of Oz.
D. Citizen Kane.
Q:
Which of the following statements is NOT true concerning Peter Jackson's use of computer-generated imagery in The Lord of the Rings trilogy?
A. It was used to create portions of the mise-en-scene.
B. It was used to create characters with individual artificial intelligence.
C. It was used to create digital stunt doubles for actors.
D. It was used mainly to create vast crowds of soldiers.
Q:
"Contrast" refers to
the difference between the darkest and lightest parts of a frame.
B. the darkest part of a frame.
C. a mixture of black-and-white frames and color frames.
D. the use of color to emphasize images in a frame.
Q:
Which of the following is NOT a type of composite filming? A. Matte B. Rear projection C. Racking D. Front projection
Q:
Slices of glass or gelatin placed in front of the lens of a camera to prevent certain frequencies of light from reaching the film are called
A. toners.
B. blockers.
C. exposures.
D. filters.
Q:
Which of the following describes a type of widescreen image? A. Hard matte B. Composite image C. Full-frame D. Academy ratio
Q:
An anamorphic process
A. has a built-in filter that permits "day-for-night" shooting.
is used to squeeze a widescreen image onto a strip of film.
C. is specifically designed for use on a Steadicam.
D. gives greater depth of field than any other type of lens.
Q:
In cinematography, "mask" refers to A. a technique used to change the shape of the frame. B. a filter placed over the lens to change the color of the scene. C. the case placed around the camera to muffle its noise for sound filming. D. shades used to keep sunlight from creating lens flares.
Q:
In a canted camera position, objects on the screen appear
A. upside down.
not to be level.
C. as seen from directly above.
D. as seen at ground level.
Q:
Terms for camera distance, such as "medium shot," are based on A. the actual distance of the characters from the camera. B. the focal length of the lens being used. C. the size of the figures relative to the frame. D. how high the actors' heads are in the frame.
Q:
Which of the following is NOT a standard term for a type of mobile framing?
A. Tilt
B. Crane
C. Pan
D. Glide
Q:
"Reframing" refers to A. taking one lens off the camera and putting on another with a different focal length. B. moving the camera forward after the master shot has been filmed, in order to get closer views. C. making short pans or tilts to keep the composition balanced. D. inserting hard mattes into the camera to achieve widescreen aspect ratios.
Q:
A central characteristic of the cinematography in Jean Renoir's Grand Illusion is A. long takes with a nearly static camera and complex staging in depth. B. frequent tracking shots that emphasize significant details in the mise-en-scene. C. innovative use of the zoom shot in almost every scene. D. almost constant craning shots.
Q:
The form of Michael Snow's Wavelength is structured around which type of mobile framing?
A. Slow tracking shots through an abandoned loft
B. Rhythmic panning to catch the reactions of a crowd
C. A series of slow craning shots on a beach
D. An irregular series of zoom-ins across a room
Q:
A zoom lens is a
A. lens with an extremely long focal length.
lens that can change focal length while a shot is being filmed.
C. lens with a special mount that can be changed quickly between shots.
D. short lens used for rapid camera movements.
Q:
"Depth of field" refers to A. the distance the actors have to be from the camera to prevent their heads from going out of the frame. B. the distance from the camera to the back wall of the set. C. the range of distances from the lens in which objects filmed will be in focus. D. how large objects appear within the frame.
Q:
"Perspective" refers to a set of spatial relations around a particular viewing point.
Q:
If a wide-angle lens and a telephoto lens photograph the same scene, the perspective relations in the images they capture will likely be the same.
Q:
Today telephoto lenses, sometimes called long lenses, are usually at least 100 mm in length.
Q:
The most realistic type of special effect is superimposition.
Q:
Current 3-D technology creates live-action images with all of the volume and solidity of the real world by always using extreme depth of field.
Q:
"Aspect ratio" is the ratio of frame width to frame height.