Film Art An Introduction 12Th Edition By David Bordwell- Test Bank

Description

Film Art An Introduction 12Th Edition By David Bordwell- Test Bank

 Sample Questions

Instant Download With Answers

Film Art: An Introduction, 12e (Bordwell)

Chapter 2   The Significance of Film Form

 

1) What is the term for the relationships among the parts of a film?

1. A) pattern
2. B) form
3. C) structure
4. D) plot

 

Answer:  B

Topic:  form and pattern

Learning Objective:  Define form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

2) Events involving characters that form a film’s story is/are the

1. A) narrative elements.
2. B) stylistic elements.
3. C) cinematic structure.
4. D) content.

 

Answer:  A

Topic:  form and content

Learning Objective:  Define form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

3) Surprise generally results from

1. A) an expectation that is fulfilled late in a film.
2. B) a predictable pattern in the film’s form.
3. C) the buildup of suspense.
4. D) an expectation that turns out to be incorrect.

 

Answer:  D

Topic:  formal expectations; form and feeling

Learning Objective:  Explain how film form creates expectations.; Explain how film form elicits emotional response.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

4) Elements such as traditions, dominant styles, or popular forms that are common to several different types of art are called

1. A) traits.
2. B) genres.
3. C) conventions.
4. D) formulas.

 

Answer:  C

Topic:  similarity and repetition in film form

Learning Objective:  Explain how conventions in form define film experience.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

5) In the judgment of a film’s quality, a “criterion” is

1. A) an expectation experienced by spectators before the film begins.
2. B) a standard that can be applied to many different films.
3. C) a critique of the overall artistic value of the film.
4. D) an objective evaluation by an experienced film critic.

 

Answer:  B

Topic:  evaluation

Learning Objective:  Explain how to evaluate films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

6) What kinds of emotions are most likely produced by expectations that are fulfilled?

1. A) anxiety or sympathy
2. B) puzzlement or increased interest
3. C) sadness or joy
4. D) satisfaction or relief

 

Answer:  D

Topic:  form and feeling

Learning Objective:  Explain how film form elicits emotional response.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

7) What is a “motif”?

1. A) an important element that is repeated throughout a film
2. B) a justification for an element appearing in a film
3. C) a reason for a character’s actions
4. D) an element that creates conflict in a film

 

Answer:  A

Topic:  similarity and repetition in film form

Learning Objective:  Explain how to pick out patterns when studying films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

8) Which of the following is NOT an example of a manifestation of the formal principle of difference in a film?

1. A) One character is in a city, and another is in a natural setting.
2. B) Two characters clash with each other.
3. C) Characters wear similar costumes or hairstyles.
4. D) Music varies with changes in setting.

 

Answer:  C

Topic:  difference and variation in film form

Learning Objective:  Describe the film form principle of variation.

Bloom’s:  Analyze

Accessibility:  Keyboard Navigation

 

9) Similarities between two or more distinct elements of a film are called

1. A) repetitions.
2. B) consistencies.
3. C) shared traits.
4. D) parallels.

 

Answer:  D

Topic:  similarity and repetition in film form

Learning Objective:  Explain how to pick out patterns when studying films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

10) Which of the following is NOT a stylistic element of a film?

1. A) the way the camera moves
2. B) the use of music
3. C) the pattern of narrative events
4. D) the arrangement of color in a frame

 

Answer:  C

Topic:  form and content

Learning Objective:  Explain how elements in film form fulfill functions.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

11) A written outline that details the major and minor parts of a film, marking the parts by numbers and letters, is a

1. A) script.
2. B) segmentation.
3. C) form plan.
4. D) blueprint.

 

Answer:  B

Topic:  development in film form

Learning Objective:  Explain how to look for principles of development in film form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

12) A delay in the fulfillment of an established expectation creates

1. A) frustration.
2. B) suspense.
3. C) confusion.
4. D) surprise.

 

Answer:  B

Topic:  form and feeling

Learning Objective:  Explain how film form creates expectations.; Explain how film form elicits emotional response.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

13) Comparing the beginning with the ending of a film helps spectators to understand

1. A) the film’s overall pattern.
2. B) parallel elements in the film.
3. C) motifs in the film.
4. D) the film’s overall message.

 

Answer:  A

Topic:  form and pattern

Learning Objective:  Explain how to pick out patterns when studying films.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

14) Which of the following describes a stylistic pattern used in TheWizardofOz?

1. A) A tornado leads to Dorothy’s journey to Oz.
2. B) The characters in Oz resemble characters in Dorothy’s life in Kansas.
3. C) Dorothy’s adventures in Oz result from her desire to return to Kansas.
4. D) Colors are used to identify landmarks and locations within the story.

 

Answer:  D

Topic:  form and pattern

Learning Objective:  Explain how to pick out patterns when studying films.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

15) One convention of narrative form is that

1. A) the conclusion of a film resolves characters’ problems.
2. B) characters sing and dance in the film.
3. C) the film features thrilling scenes, such as spectacular car chases.
4. D) background information about characters is introduced late in the film.

 

Answer:  A

Topic:  formal expectations; conventions and experience

Learning Objective:  Explain how conventions in form define film experience.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

16) Which of the following is NOT a type of meaning that spectators might consider in a film?

1. A) referential meaning
2. B) declared meaning
3. C) explicit meaning
4. D) implicit meaning

 

Answer:  B

Topic:  form and meaning

Learning Objective:  Recall how form shapes a film’s meaning.; Describe explicit meaning.; Describe implicit meaning.; Describe referential meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

17) Which of the following conventions, common in current films, would have been considered unusual in the 1940s and 1950s?

1. A) a slow pace of events
2. B) singing and dancing
3. C) flashbacks to earlier events
4. D) the portrayal of activities that do not occur in everyday life

 

Answer:  C

Topic:  conventions and experience

Learning Objective:  Explain how conventions in form define film experience.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

18) Which of the following works is NOT structured around a journey?

1. A) TheWizardofOz
2. B) Collateral
3. C) TheLordoftheRings
4. D) TheOdyssey

 

Answer:  B

Topic:  development in film form

Learning Objective:  Recall how form shapes a film’s meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

19) Which of the following criterion for evaluating a film involves an assessment of how emotionally engaging the film is?

1. A) moral judgment
2. B) realistic sets
3. C) intensity of effect
4. D) originality

 

Answer:  C

Topic:  evaluation

Learning Objective:  Explain how to evaluate films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

20) A film is said to be complex if

1. A) spectators have difficulty following the story line.
2. B) it involves numerous characters.
3. C) it invites spectators to think more deeply about their own real-life situations.
4. D) it creates multiple relations among many different formal film elements.

 

Answer:  D

Topic:  development in film form; function of film form

Learning Objective:  Describe the film form principle of variation.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

21) A film’s “development” is based on repetition as well as

1. A) progression.
2. B) the film’s ending.
3. C) motifs.
4. D) themes.

 

Answer:  A

Topic:  development in film form

Learning Objective:  Explain how to look for principles of development in film form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

22) A film that is cohesive in its overall form has

1. A) intensity.
2. B) unity.
3. C) organization.
4. D) development.

 

Answer:  B

Topic:  development in film form

Learning Objective:  Explain how to look for principles of development in film form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

23) Emotions experienced by spectators result from spectators’ perceptions of

1. A) how other spectators interpret the film.
2. B) the film’s use of conventions.
3. C) formal patterns in the film.
4. D) how closely the film’s events resemble those of real life.

 

Answer:  C

Topic:  form and pattern; form and feeling

Learning Objective:  Explain how film form elicits emotional response.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

24) Implicit meanings are sometimes called

1. A) concrete elements.
2. B) themes.
3. C) interpretations.
4. D) subtexts.

 

Answer:  D

Topic:  form and meaning

Learning Objective:  Describe implicit meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

25) Symptomatic meanings result from

1. A) the characteristics of a particular society at a particular time.
2. B) spectators’ ability to relate to characters in the film.
3. C) problems that the characters in a film try to overcome.
4. D) flaws exhibited by the characters in a film.

 

Answer:  A

Topic:  form and meaning

Learning Objective:  Describe symptomatic meaning.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

26) “Meaning” refers to what a film says or suggests.

 

Answer:  TRUE

Topic:  form and meaning

Learning Objective:  Recall how form shapes a film’s meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

27) Genres are unaffected by conventions.

 

Answer:  FALSE

Topic:  conventions and experience

Learning Objective:  Explain how to pick out patterns when studying films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

28) Emotions represented in a film are usually experienced by the audience as well.

 

Answer:  FALSE

Topic:  form and feeling

Learning Objective:  Explain how film form elicits emotional response.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

29) Social ideology is a set of values characteristic of a whole society.

 

Answer:  TRUE

Topic:  form and meaning

Learning Objective:  Define unity.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

30) Curiosity is a feeling of expectation that results when patterns of artistic cues cause spectators to think about events that came before a certain point in the film.

 

Answer:  TRUE

Topic:  formal expectations; similarity and repetition in film form

Learning Objective:  Explain how elements in film form fulfill functions.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

31) Personal taste and evaluative judgment are virtually the same.

 

Answer:  FALSE

Topic:  evaluation

Learning Objective:  Explain how to evaluate films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

32) Filmmakers generally strive to create artworks that invite a single interpretation—the one that the filmmaker intends.

 

Answer:  FALSE

Topic:  evaluation

Learning Objective:  Explain how to evaluate films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

33) In film evaluation, moral criteria are used to judge certain aspects of a film outside of their film context.

 

Answer:  TRUE

Topic:  evaluation

Learning Objective:  Explain how to evaluate films.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

34) A unified film may still leave some questions unanswered or contain some unintegrated elements.

 

Answer:  TRUE

Topic:  unity and disunity in film form

Learning Objective:  Explain how to look for principles of development in film form.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

 

 

35) Prior experience has little effect on spectators’ expectations as they view a film.

 

Answer:  FALSE

Topic:  formal expectations

Learning Objective:  Explain how film form creates expectations.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

36) Each major character in TheWizardofOz fulfills a single significant function.

 

Answer:  FALSE

Topic:  development in film form

Learning Objective:  Explain how to look for principles of development in film form.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

37) Comedy often depends on creating surprise or cheating spectators’ expectations.

 

Answer:  TRUE

Topic:  form and meaning

Learning Objective:  Recall how form shapes a film’s meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

38) Variation is a fundamental principle of film form.

 

Answer:  TRUE

Topic:  difference and variation in film form

Learning Objective:  Explain how elements in film form fulfill functions.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

39) TheWizardofOz has a large-scale ABA form.

 

Answer:  TRUE

Topic:  form and pattern; development in film form

Learning Objective:  Explain how conventions in form define film experience.; Describe form as pattern.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

40) Referential meaning is meaning that is openly asserted in a film.

 

Answer:  FALSE

Topic:  form and meaning

Learning Objective:  Describe referential meaning.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

41) How can film form create new emotional reactions in the audience instead of simply triggering practiced ones? Give an example of how the WizardofOz uses form to override spectators’ everyday emotional responses.

 

Answer:  Answers will vary

Topic:  form and feeling

Learning Objective:  Explain how film form creates expectations.; Explain how film form elicits emotional response.

Bloom’s:  Apply

Accessibility:  Keyboard Navigation

 

42) What can we discover about a film’s “architecture” from analyzing its plot segmentation?

 

Answer:  Answers will vary

Topic:  similarity and repetition in film form; difference and variation in film form; development in film form; function of film form; unity and disunity in film form

Learning Objective:  Recall how form shapes a film’s meaning.; Describe comparing the beginning with the ending to understand a film’s development.; Explain how to look for principles of development in film form.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

Film Art: An Introduction, 12e (Bordwell)

Chapter 4   The Shot: Mise-en-Scene

 

1) Which of the following is not considered part of a shot’s mise-en-scene?

1. A) the actors’ movements
2. B) the camera’s angle on the action
3. C) objects visible in the distance
4. D) the shadows

 

Answer:  B

Topic:  mise-en-scene

Learning Objective:  Define mise-en-scene.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

2) An actor’s hands mimic the branches and leaves of a tree in a scene that is typical of German Expressionism in the film

1. A) Greed.
2. B) Intolerance.
3. C) TheSpider’sStratagem.
4. D) TheCabinetofDr. Caligari.

 

Answer:  D

Topic:  setting

Learning Objective:  Recognize how setting is a component of mise-en-scene.

Bloom’s:  Apply

Accessibility:  Keyboard Navigation

 

3) The system of lighting widely used in classical Hollywood filmmaking is known as

1. A) three-point lighting.
2. B) five-point lighting.
3. C) cast-shadow lighting.
4. D) omnidirectional lighting.

 

Answer:  A

Topic:  mise-en-scene

Learning Objective:  Recognize how lighting is a component of mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

4) Which of the following is not a term for a type of directional lighting?

1. A) top lighting
2. B) underlighting
3. C) overlighting
4. D) backlighting

 

Answer:  C

Topic:  lighting: direction

Learning Objective:  Recognize how setting is a component of mise-en-scene.; Explain how lighting is characterized by its source.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

5) Which of the following is not a type of lighting in the three-point lighting system?

1. A) rack light
2. B) backlight
3. C) key light
4. D) fill light

 

Answer:  A

Topic:  lighting: source

Learning Objective:  Explain how setting is a component of mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

6) According to FilmArt, a film actor’s performance style is most affected by

1. A) the microphone placement.
2. B) the camera distance.
3. C) the aspect ratio.
4. D) the lighting.

 

Answer:  B

Topic:  acting

Learning Objective:  Describe the role of cameras in controlling context for acting.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

 

 

7) “Frontality” of staging means that

1. A) a character is placed in the extreme foreground of the shot.
2. B) a character is facing toward the camera.
3. C) one character blocks spectators’ views of another character.
4. D) a character is moving toward the foreground.

 

Answer:  B

Topic:  acting

Learning Objective:  Explain how viewers’ attention shifts within a frame and a scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

8) Which of the following is not a motif in the mise-en-scene in Buster Keaton’s OurHospitality?

1. A) a sampler embroidered “Love Thy Neighbor”
2. B) a fish-on-a-line motif
3. C) a gun rack
4. D) a dog-on-a-leash motif

 

Answer:  D

Topic:  mise-en-scene

Learning Objective:  Explain the use of mise-en-scene to create motifs in Our Hospitality.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

9) Georges Méliès was

1. A) an early director of fantasy films and master of mise-en-scene.
2. B) an important French set designer of the 1930s.
3. C) the director of OurHospitality.
4. D) the first historian to study mise-en-scene in the cinema.

 

Answer:  A

Topic:  motion and performance capture

Learning Objective:  Recall how filmmakers use mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

10) Stop-action involves

1. A) having actors stand in the same spot where they were at the end of one shot while the lighting is adjusted for the next shot.
2. B) halting the filming in one set and moving on to another while shooting out of continuity.
3. C) one actor in a scene refraining from any obvious movement after delivering a line so as not to call attention away from the actor who is responding.
4. D) animating an object by changing its position between each frame shot.

 

Answer:  D

Topic:  space and time

Learning Objective:  Recall how filmmakers use mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

11) Aerial perspective suggests depth by

1. A) making more distant planes seem hazier than closer ones.
2. B) creating a high angle that makes parallel lines meet at the horizon.
3. C) composing a shot that makes the sky dominate the image.
4. D) filming from directly above a character or a setting.

 

Answer:  A

Topic:  space and time

Learning Objective:  Define aerial perspective.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

12) Size diminution suggests depth by

1. A) making parallel lines seem to intersect.
2. B) creating false perspective by placing taller characters closer to the camera and shorter characters farther off.
3. C) implying that the elements which are smaller in the shot tend to be farther away.
4. D) reducing the cues for perspective so that the space appears relatively shallow.

 

Answer:  C

Topic:  space and time

Learning Objective:  Define size diminution.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

13) Film scholars use the term mise-en-scene to describe the director’s control over

1. A) where the film will be shot.
2. B) what appears in the film frame.
3. C) what actors will appear in the film.
4. D) how long shooting will last.

 

Answer:  B

Topic:  mise-en-scene

Learning Objective:  Define mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

14) In a film, a “highlight” refers to

1. A) a significant scene that may become part of a movie trailer.
2. B) acting that exceeds the director’s expectations.
3. C) the climax of the story developed in the film.
4. D) lighting that produces a patch of brightness on a surface.

 

Answer:  D

Topic:  lighting: highlights and shadows

Learning Objective:  Explain the functions of highlights and shadows.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

15) A “prop” is an object in the setting that

1. A) has a function in the action of the film.
2. B) helps the actors remember their lines.
3. C) supports large pieces of scenery.
4. D) serves as a filler to make a set look complete.

 

Answer:  A

Topic:  setting

Learning Objective:  Recognize how setting is a component of mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

16) Frontal lighting has a tendency to

1. A) create shadows.
2. B) distort images.
3. C) eliminate shadows.
4. D) sculpt a character’s features.

 

Answer:  C

Topic:  lighting: direction

Learning Objective:  Define frontal lighting.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

17) The aspect of lighting that refers to the relative intensity of illumination is called

1. A) density.
2. B) quality.
3. C) direction.
4. D) color.

 

Answer:  B

Topic:  lighting: quality

Learning Objective:  Recognize the functions of lighting quality.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

18) When filmmakers choose to control lighting, they typically use

1. A) different colors of lighting.
2. B) a soft, yellow, incandescent light.
3. C) natural sources of lighting.
4. D) a light that is as purely white as possible.

 

Answer:  D

Topic:  lighting: color

Learning Objective:  Explain the functions of lighting colors.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

19) In a film, when actors engage in conversation, they usually

1. A) look directly at each other and seldom blink.
2. B) glance away often as they gather their thoughts.
3. C) blink frequently to show that they are interested in the conversation.
4. D) focus their gaze directly at the camera.

 

Answer:  A

Topic:  acting

Learning Objective:  Recall the film actor’s toolkit.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

20) In classical Hollywood, an actor who was typecast

1. A) played roles in office settings, showcasing fast typing skills.
2. B) was directed to avoid portraying a specific stereotype.
3. C) was directed to conform to audiences’ expectations.
4. D) usually represented a social class or historical movement.

 

Answer:  C

Topic:  acting

Learning Objective:  Recall the elements of acting and actuality in staging.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

21) “Performance capture” focuses on filming

1. A) the whole body.
2. B) the face.
3. C) background images.
4. D) unexpected events.

 

Answer:  B

Topic:  motion and performance capture

Learning Objective:  Distinguish motion capture from performance capture.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

22) The easiest way for a filmmaker to achieve compositional balance is to

1. A) focus on figures on the right or the left.
2. B) make the shot as wide as possible.
3. C) center the frame on the human body.
4. D) counterweight two or more elements.

 

Answer:  C

Topic:  space and time

Learning Objective:  Explain how filmmakers approach balance in screen space.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

23) Which of the following is not a way in which a film suggests volume in a space?

1. A) planes
2. B) shape
3. C) shading
4. D) movement

 

Answer:  A

Topic:  space and time

Learning Objective:  Explain how depth cues function.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

24) Depth cues that create the illusion of depth requiring input from only one eye are

1. A) monochromatic.
2. B) monotone.
3. C) monolithic.
4. D) monocular.

 

Answer:  D

Topic:  space and time

Learning Objective:  Explain how depth cues function.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

25) In shallow-space composition, the closest and most distant planes appear

1. A) blurred.
2. B) only slightly separated.
3. C) significantly separated.
4. D) indistinguishable.

 

Answer:  B

Topic:  space and time

Learning Objective:  Define shallow-space composition.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

26) Which statement about film acting is TRUE?

1. A) Unlike stage actors, film actors must usually overplay their roles.
2. B) Film actors typically act in a more restrained manner than stage actors.
3. C) Film actors must adjust their movements based on camera distance.
4. D) Film actors are less concerned with facial expressions than stage actors.

 

Answer:  C

Topic:  acting

Learning Objective:  Describe the role of cameras in controlling context for acting.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

27) Which of the following is not a term used to describe how far away from the camera a plane is?

1. A) near ground
2. B) foreground
3. C) background
4. D) middle ground

 

Answer:  A

Topic:  space and time

Learning Objective:  Explain how depth cues function.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

28) Movement is an important depth cue because it suggests

1. A) size diminution.
2. B) balance of composition.
3. C) aerial perspective.
4. D) both volumes and planes.

 

Answer:  D

Topic:  space and time

Learning Objective:  Explain how depth cues function.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

29) When a filmmaker employs a limited palette, he or she uses

1. A) a simple setting with few props.
2. B) only a few colors in the same range.
3. C) a small cast of actors.
4. D) only one or two camera angles.

 

Answer:  B

Topic:  space and time

Learning Objective:  Define monochromatic color design.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

30) The term keylight refers to

1. A) subdued lighting.
2. B) background lighting.
3. C) the primary light source.
4. D) a natural light source.

 

Answer:  C

Topic:  lighting: source

Learning Objective:  Define key light.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

31) The two most basic types of light in a scene are the key and the rim.

 

Answer:  FALSE

Topic:  lighting: source

Learning Objective:  Define fill light.; Define key light.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

32) Georges Méliès’s “Star-Film” studio was designed to give him control over every aspect of mise-en-scene.

 

Answer:  TRUE

Topic:  the power of mise-en-scene

Learning Objective:  Recall how filmmakers use mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

33) Animated films, like live-action films, have mise-en-scene.

 

Answer:  TRUE

Topic:  motion and performance capture

Learning Objective:  Recall how filmmakers use mise-en-scene.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

34) Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.

 

Answer:  FALSE

Topic:  mise-en-scene

Learning Objective:  Recall how filmmakers use mise-en-scene.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

35) Marlon Brando’s performance in OntheWaterfront was considered a major example of realistic acting in its day.

 

Answer:  TRUE

Topic:  acting

Learning Objective:  Recall the elements of acting and actuality in staging.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

36) Films shot in the studio have mise-en-scene, whereas films made entirely on location do not.

 

Answer:  FALSE

Topic:  setting

Learning Objective:  Recognize how setting is a component of mise-en-scene.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

 

 

37) “Fill” light is used to create deep shadows.

 

Answer:  FALSE

Topic:  lighting: source

Learning Objective:  Define fill light.; Define key light.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

38) “Edge” lighting is a type of backlighting used to make characters stand out against a background.

 

Answer:  TRUE

Topic:  lighting: direction

Learning Objective:  Define backlighting.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

39) In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera is placed.

 

Answer:  FALSE

Topic:  lighting: source

Learning Objective:  Explain how lighting is characterized by its source.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

40) “High-key” lighting is typical of Hollywood filmmaking.

 

Answer:  TRUE

Topic:  lighting: source

Learning Objective:  Define high-key lighting.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

41) Soft, high-key lighting is associated with mystery stories, crime films, and film noirs.

 

Answer:  FALSE

Topic:  lighting: source

Learning Objective:  Define low-key lighting.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

42) According to FilmArt, realism is the most useful standard for evaluating actors’ performances.

 

Answer:  FALSE

Topic:  acting

Learning Objective:  Recall the elements of acting and actuality in staging.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

43) Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions.

 

Answer:  FALSE

Topic:  acting

Learning Objective:  Recall the film actor’s toolkit.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

44) German Expressionist films, such as TheCabinetofDr. Caligari, are characterized by realistic mise-en-scene and subtle, psychologically based acting.

 

Answer:  FALSE

Topic:  acting

Learning Objective:  Define mise-en-scene.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

45) “Warm” colors tend to attract the spectator’s eye more than “cool” colors.

 

Answer:  TRUE

Topic:  space and time

Learning Objective:  Recognize the functions of lighting quality.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

46) When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.

 

Answer:  FALSE

Topic:  space and time

Learning Objective:  Explain how filmmakers approach balance in screen space.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

47) Most of the gags in OurHospitality depend on shallow-space compositions.

 

Answer:  FALSE

Topic:  mise-en-scene

Learning Objective:  Recognize comic elements in the use of mise-en-scene in Our Hospitality.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

48) Setting plays a less significant role in the cinema than it does in the theater.

 

Answer:  FALSE

Topic:  setting

Learning Objective:  Recognize how setting is a component of mise-en-scene.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

49) Hard lighting reveals well-defined shadows and crisp textures.

 

Answer:  TRUE

Topic:  lighting: quality

Learning Objective:  Recognize the functions of lighting quality.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

50) Discuss the problems with using realism as a criterion for evaluating films, giving specific examples from any of the films shown for this class.

 

Answer:  Answers will vary

Topic:  acting

Learning Objective:  Recall the elements of acting and actuality in staging.

Bloom’s:  Analyze

Accessibility:  Keyboard Navigation

 

51) Select a moment from a highly-regarded film such as Silence of the Lambs or Jerry Maguire and discuss how meaning is conveyed through the actor’s physical self.

 

Answer:  Answers will vary

Topic:  acting

Learning Objective:  Recall the film actor’s toolkit.

Bloom’s:  Evaluate

Accessibility:  Keyboard Navigation