Test Bank for Understanding Movies, 14th Edition

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iTest BankforUnderstanding MoviesFourteenth EditionLouis Giannetti

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iiiTable of ContentsCHAPTER 1: PHOTOGRAPHY1CHAPTER 2: MISE ENSCÈNE14CHAPTER 3: MOVEMENT28CHAPTER 4:EDITING42CHAPTER 5:SOUND56CHAPTER 6:ACTING70CHAPTER 7: DRAMA83CHAPTER 8:STORY97CHAPTER 9:WRITING111CHAPTER 10:IDEOLOGY125CHAPTER 11:CRITIQUE139CHAPTER 12 SYNTHESIS:CITIZEN KANE153

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1TEST BANK FOR CHAPTER 1: PHOTOGRAPHYMultiple Choice1. Realism in film emphasizesA. maximum distortion.B. narrative fragmentation.C. the richness of life.D. stylistic flamboyance.Answer: CTopic: Realism and FormalismPage Number: 2Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 1. Recognize the distinctions among the three principal styles of film and thethree types of movies, and evaluate how the style affects the presentation of the story.2. Expressionists are often concerned withA. spiritual and psychological truths.B. objective truths.C. story more than style.D. the basic, common experiences of life.Answer: ATopic: Realism and FormalismPage Number: 2Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: Recognize the distinctions among the three principal styles of film and thethree types of movies, and evaluate how the style affects the presentation of the story.3. Busby Berkeley’sGold Diggers of 1933is an example of what style of film?A. avant-gardeB. documentaryC. realistD. formalistAnswer: DTopic: Realism and FormalismPage Number: 3Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: Recognize the distinctions among the three principal styles of film and thethree types of movies, and evaluate how the style affects the presentation of the story.

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24. Classical cinemaA. employs loosely organized plots.B. subordinates plot and character to social themes.C. avoids the extremes of realism and formalism.D. sacrifices entertainment value to explore moral issues.Answer: CTopic: Realism and FormalismPage Number: 4-5Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: Recognize the distinctions among the three principal styles of film and thethree types of movies, and evaluate how the style affects the presentation of the story.5. The shot in film is defined asA. the gauge of film stock used to photograph the image.B. the narrative function of the shot.C. the duration of film exposure in a given scene.D. the amount of subject matter included within the frame.Answer: DTopic: The ShotsPage Number: 9Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 2. List the six basic categories of film shots and their purpose in developingthe scene.6. The medium two-shot reigns supreme in which one of these genres?A. westernsB. sci-fi picturesC. romantic comediesD. action moviesAnswer: CTopic: The ShotsPage Number: 10Difficulty Level: DifficultSkill Level: Understand the ConceptsLearning Objective: List the six basic categories of film shots and their purpose in developing thescene.7. The over-the-shoulder shot involvesA. one person in close up.B. two people, one of whom has his/her back to the camera.C. three people with the camera moving from person to person.D. a figure from the waist or knees up

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3Answer: BTopic: The ShotsPage Number: 11Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 2. List the six basic categories of film shots and their purpose in developingthe scene.8. Generally speaking, if you want to capture an intense emotion, you would use which one ofthe following shot types?A. extreme long-shotB. medium shotC. close-up shotD. long shotAnswer: CTopic:The ShotsPage Number: 11Difficulty Level: ModerateSkill Level: Analyze ItLearning Objective: 2. List the six basic categories of film shots and their purpose in developingthe scene.9. The camera’s angle can be inferred by what in a shot?A. the background visibleB. the extremeness of the angleC. the clearness of the object being photographedD. the subject being photographedAnswer: ATopic: The AnglesPage Number: 12Difficulty Level: DifficultSkill Level: Analyze ItLearning Objective: 3. Describe the five basic angles in the cinema and what contextualinformation the audience derives from each choice.10. One way to get a high angle shot is to place the camera where?A. low to the ground looking upB. at eye-level to the actorC. on a crane or high promontoryD. slightly below eye-levelAnswer: CTopic: The AnglesPage Number: 13

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4Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 3. Describe the five basic angles in the cinema and what contextualinformation the audience derives from each choice.11. Oblique-angle shots tend to suggestA. tension, transition, and impending movement.B. security and domination.C. tediousness and insignificance.D. power, stability, and fate.Answer: ATopic: The AnglesPage Number: 17Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 3. Describe the five basic angles in the cinema and what contextualinformation the audience derives from each choice.12. The different styles of lighting are usually designated asA. lighting keys.B. light sources.C. color temperatures.D. lighting instruments.Answer: ATopic: Light and DarkPage Number: 17Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 4. Outline the various types of lighting styles used in film and the symbolicconnotations of each.13. Mysteries, thrillers, and gangster films are often shot in what lighting key?A. continuous takeB. high keyC. low keyD. high contrastAnswer: CTopic: Light and DarkPage Number: 17Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 4. Outline the various types of lighting styles used in film and the symbolicconnotations of each.

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514. The realist filmmaker favors what kind of lighting?A. available lightingB. expressionistic lightingC. symbolic lightingD. studio lightingAnswer: ATopic: Light and DarkPage Number: 17Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 4. Outline the various types of lighting styles used in film and the symbolicconnotations of each.15. During the big-studio era in Hollywood, cinematographers developed what important lightingtechnique?A. noir lightingB. realistic lightingC. high contrast lightingD. three-point lightingAnswer: DTopic: Light and DarkPage Number: 18Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 4. Outline the various types of lighting styles used in film and the symbolicconnotations of each.16. Color in the movies didn’t become commercially widespread until when?A. the 1920sB. the 1940sC. the 1960sD. the 1980sAnswer: BTopic: ColorPage Number: 23Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 5. Explain the way directors consciously use colors to symbolically enhancethe film’s dramatic content.17. Color tends to be what kind of element in film?A. consciousB. subconsciousC. intellectual

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6D. masculineAnswer: BTopic: ColorPage Number: 23Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 5. Explain the way directors consciously use colors to symbolically enhancethe film’s dramatic content.18. Which one of these colors is considered to be warm?A. orangeB. blueC. greenD. violetAnswer: ATopic: ColorPage Number: 23Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 5. Explain the way directors consciously use colors to symbolically enhancethe film’s dramatic content.19. One major problem with using black-and-white photography in an otherwise color film isA. its expense.B. its corny symbolism .C. tendency to warm up a movie.D. its effects are too subtle.Answer: BTopic: ColorPage Number: 23Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 5. Explain the way directors consciously use colors to symbolically enhancethe film’s dramatic content.20. Because the camera records things literally, if you want a coffee cup to appear larger than abasketball, how would you photograph the two objects?A. place the coffee cup closer to the camera than the basketballB. place the basketball closer to the camera than the coffee cupC. place the coffee cup directly next to the basketballD. place both as far from the camera as possibleAnswer: ATopic: Lenses, Filters, and Stocks

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7Page Number: 29Difficulty Level: DifficultSkill Level: Analyze ItLearning Objective: 6. Identify how lenses, filters, and stocks can intensify given qualitieswithin a shot, and suppress others.21. Which one of these is a major advantage of using a telephoto lens?A. It is less sensitive to distance than a wide-angle lensB. It permits the cinematographer to remain hidden.C. It is in sharp focus across several distance planes.D. It allows for deep-focus photographyAnswer: BTopic: Lenses, Filters, and StocksPage Number: 29-30Difficulty Level: EasySkill Level: Apply What You KnowLearning Objective: 6. Identify how lenses, filters, and stocks can intensify given qualities withina shot, and suppress others.22. Filters are often used to suppress or heighten certain colors, especially in exterior scenes.Robert Altman’sMcCabe & Mrs. Miller(photographed by Vilmos Zsigmond) uses what kind offilters to emphasize the bitter cold of the winter setting?A. gauzyB. translucentC. green and blueD. yellow and orangeAnswer: CTopic: Lenses, Filters, and StocksPage Number: 32Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 6. Identify how lenses, filters, and stocks can intensify given qualities withina shot, and suppress others.23. Fast stocks are most commonly associated with what kind of movie?A. westernsB. documentariesC. color filmsD. musicalsAnswer: BTopic: Lenses, Filters, and StocksPage Number: 32Difficulty Level: EasySkill Level: Remember the Facts

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8Learning Objective: 6. Identify how lenses, filters, and stocks can intensify given qualities withina shot, and suppress others.24. Digital images are stored onA. filmstrips.B. celluloid.C. reels.D. memory cards.Answer: DTopic: The Digital RevolutionPage Number: 34Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 7. Evaluate the changes that digital technologies have had on filmproduction, editing, presentation, and distribution.25. The more pixels that make up a digital image, theA. lower the resolution.B. closer it resembles the subject being photographed.C. grainier the image.D. fewer the scan lines.Answer: BTopic: The Digital RevolutionPage Number: 34Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 7. Evaluate the changes that digital technologies have had on filmproduction, editing, presentation, and distribution.26. Which of these films most obviously blurred the distinctions between realism and formalismthrough its use of digital technology?A.AvatarB.The MatrixC.MultiplicityD.TangerineAnswer: CTopic: The Digital RevolutionPage Number: 35-37Difficulty Level: DifficultSkill Level: Analyze ItLearning Objective: 7. Evaluate the changes that digital technologies have had on filmproduction, editing, presentation, and distribution.27. Digital technology is making motion picture exhibition

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9A. obsolete.B. less expensive.C. brighter with respect to projection.D. more expensive.Answer: BTopic: The Digital RevolutionPage Number: 38Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 7. Evaluate the changes that digital technologies have had on filmproduction, editing, presentation, and distribution.28. Which one of these cinematographers became famous for his use of expressionistic low-keylighting in such movies as theGodfatherfilms?A. Vilmos ZsigmondB. László KovácsC. Roger DeakinsD. Gordon WillisAnswer: DTopic: The CinematographerPage Number: 42Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 8. Assess the role of cinematographers in the filmmaking process andidentify how they are able to consolidate the various elements of film photography.29. Director Stephen Soderbergh chose to shoot the movieTrafficlike a documentary to enhancerealism of the story by emphasizing which of the following cinematographic tools or techniques?A. a handheld cameraB. CGIC. slow film stockD. studio lightingAnswer: ATopic: The CinematographerPage Number: 43Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 8. Assess the role of cinematographers in the filmmaking process andidentify how they are able to consolidate the various elements of film photography.30. Which type of filmmaker doesn’t want you to notice the photography, but instead toconcentrate on what is being photographed, not on how it’s being photographed.A. realist directorsB. formalist directors

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10C. documentary filmmakersD. avant-garde filmmakersAnswer: ATopic: The CinematographerPage Number: 44Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 8. Assess the role of cinematographers in the filmmaking process andidentify how they are able to consolidate the various elements of film photography.Essay Questions31. Explain the basic differences between realism and formalism in film.Answer: The ideal answer should include:1. Realism and formalism are both styles of filmmaking, and general rather than absolute terms.2. Generally speaking, realistic films attempt to reproduce the surface of reality with a minimumof distortion. In photographing objects and events, the filmmaker tries to suggest the richness oflife itself.3. Generally speaking, formalistic films are stylistically flamboyant, and concerned withexpressing their subjective experience of reality, not how other people might see it.4. Most realists would claim that their major concern is withcontentrather thanformortechnique. The subject matter is always supreme, and anything that distracts from the content isviewed with suspicion.5. Formalists are not much concerned with how realistic their images are, but with their beauty orpower. They deliberately stylize and distort their raw materials so that no one would mistake amanipulated image of an object or event for the real thing. The stylization calls attention to itself:It’s part of the show.6. Most fiction films fall somewhere between these two extremes, in a mode critics refer to asclassical cinema.Topic: Realism and FormalismPage Number: 2-5Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: Recognize the distinctions among the three principal styles of film and thethree types of movies, and evaluate how the style affects the presentation of the story.32. Define deep-focus photography and explain why it might be used by a filmmaker.Answer: The ideal answer should include:1. The deep-focus shotis a variation of the long shot consisting of a number of focal distancesphotographed in depth.2. Deep-focus shots require the use of awide-anglelensto photograph the scene because this typeof shot captures objects at close, medium, and long ranges simultaneously, all of them in sharpfocus.3. The objects in a deep-focus shot are carefully arranged in a succession of planes. By using this

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11layering technique, the director can guide the viewer’s eye from one distance to another.4. Generally, the eye travels from objects at close range to those at medium and then to long.5. A filmmaker might use a deep-focus shot to give the audience a better sense of the location orsetting of a scene (for example, in the laboratory scene in Kenneth Branagh’sFrankenstein) sincewe are able to see clearly what is in the foreground, mid-ground, and background of an image.Topic: The ShotsPage Number: 9-11Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 2. List the six basic categories of film shots and their purpose in developingthe scene.33. Explain how formalists and realists differ in their choice of camera angles for photographinga shot.Answer: The ideal answer should include:1. Film realists tend to avoid extreme angles. Most of their scenes are photographed from eyelevel, roughly five to six feet off the ground—approximately the way an actual observer mightview a scene.2. Realist directors usually attempt to capture the clearest view of an object.3. Formalist directors are not always concerned with the clearest image of an object, but with theimage that best captures its essential nature.4. Many formalist filmmakers feel that by distorting the surface realism of an object, a greatertruth is achieved—a symbolic truth—and they often choose to use extreme angles because thesedistort the subject of the shot.5. Both realist and formalist directors know that the viewer tends to identify with the camera’slens. The realist wishes to make the audience forget that there’s a camera at all. The formalist isconstantly calling attention to it.Topic: The AnglesPage Number: 12Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 3. Describe the five basic angles in the cinema and what contextualinformation the audience derives from each choice.34. Explain how a director like Alfred Hitchcock used lighting to surprise the audience in manyof his most violent scenes.Answer: The ideal answer should include:1. Mysteries and thrillers are generally photographed in low key, with diffused shadows andatmospheric pools of light.2. Lights and darks have had symbolic connotations since the dawn of humanity. The Bible isfilled with light–dark symbolism. The painters Rembrandt van Rijn and Caravaggio used light–dark contrasts for psychological purposes as well. In general, artists have used darkness tosuggest fear, evil, the unknown.3. Light usually suggests security, virtue, truth, joy. Because of these conventional symbolicassociations, some filmmakers deliberately reverse light–dark expectations.

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124. Alfred Hitchcock’s movies attempt to jolt viewers by exposing their shallow sense of security.He staged many of his most violent scenes in the glaring light.Topic:Light and DarkPage Number: 17Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 4. Outline the various types of lighting styles used in film and the symbolicconnotations of each.35. Explain how filmmakers Vittorio De Sica and Roberto Benigni both used color insimilar ways in their filmsThe Garden of the Finzi-ContinisandLife Is Beautiful.Answer: The ideal answer should include:1. Both films slowly drain the color from scenes to subtly symbolize the growing emotionaldarkness of each story.2. In Vittorio De Sica’sThe Garden of the Finzi-Continis, which is set in Fascist Italy, the earlyportions of the movie are richly resplendent in shimmering golds, reds, and almost every shade ofgreen.3. As political repression becomes more brutal, these colors slowly begin to wash out, until nearthe end of the film the images are dominated by whites, blacks, and blue-grays.4.Life Is Beautifulbegins as a slapstick comedy, and the colors are warm and sunny, typical ofMediterranean settings.5. But as the Nazi Holocaust spreads, the colors begin to pale. Once the hero is inside the deathcamp, virtually all the color is drained from the images. Only a few faded flickers of skin tonesoccasionally punctuate the ashen pallor of the camp and its prisoners.Topic: ColorPage Number: 23-26Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 5. Explain the way directors consciously use colors to symbolically enhancethe film’s dramatic content.36. Explain how the choice to use telephoto lenses by a filmmaker helps provide a commentaryon the relationship of characters to their surroundings.Answer: The ideal answer should include:1. Telephoto lenses can be so precise that they can focus on just one thin slice of action that’sonly a few inches deep. This forces the eye to concentrate only on that one thin slice of theimage that’s in focus.2. In the filmRunning Scared, for example, the gun and actor Paul Walker’s hand are radicallyblurred, as is the background behind him. Our eyes are forced to concentrate on the face of thecharacter, the only thing in focus, during a decisive moment of his life.3. Telephoto lenses can also be used to enhance the lyrical potential of an image by againblurring the foreground and/or background and forcing the audience to focus on only what thefilmmaker wants us to concentrate on.4. InCinderella Manset during the Great Depression, for example, the blurry backgroundrenders it supremely irrelevant to what matters most to the two lead characters—each other. The

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13telephoto lens, in effect, is a silent declaration of their total devotion to each other. Thesurroundings don’t matter.Topic: Lenses, Filters, and StocksPage Number: 30Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 6. Identify how lenses, filters, and stocks can intensify given qualities withina shot, and suppress others.37. Explain how digital technology has revolutionized special effects in movies, and how it wasused to create films likeAvatarandThe Matrix.Answer: The ideal answer should include:1. Because the pixels of a digital image can be easily manipulated by computer, digitaltechnology has revolutionized special effects in movies. In the past, whole scenes often had to bereshot because of technical glitches.2. For example, if a modern auto or telephone wires appeared in a period film, the scene had tobe recut or even re-photographed. Today, such details can be removed digitally.3. InAvatar,James Cameron’s sci-fi extravaganza employs the full range of CGI and motioncapture technology in creating a 3D sense of floating through the eerie planetary space ofPandora, with its ethereal forests and exotic creatures. These sequences are almost like lyricpoetry—fluid and breathtaking.4.The Matrixis full of gravity-defying stunts like people floating and hovering in the air,running up walls, moving in slow motion, and levitation fighting which could only be createdthrough digital special effects. In one scene for example, a battle is “frozen” while the cameraswings around it. The F/X team also devised a technique called “bullet time,” in whichcharacters dodge gunfire in super-slow-motion.Topic: The Digital RevolutionPage Number: 36-3Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 7. Evaluate the changes that digital technologies have had on filmproduction, editing, presentation, and distribution.

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14TEST BANK FOR CHAPTER 2: MISE EN SCÈNEMultiple Choice1. Mise en scène was originally a French theatrical term meaningA. in three dimensions.B. under the proscenium arch.C. in the middle of the scene.D. placing on stage.Answer: DTopic: IntroductionPage Number: 47Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.2. Mise en scène in the movies resembles the art of painting in thatA. an image is presented on a flat surface.B. the frame is unimportant.C. three-dimensional images are created from two-dimensional space.D. it has depth as well as width and height.Answer: ATopic: IntroductionPage Number: 47Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.3. The frame of the screen defines theA. auditorium.B. world of the film.C. real world.D. length of the shot.Answer: BTopic:The FramePage Number: 47Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 1. Identify the two main screen aspect ratios and evaluate how directorshave used masks and other techniques in order to both enhance and overcome them.

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154. Unlike the painter or still photographer, the filmmakerA. must fit the composition to a single-sized frame.B. is unconcerned with the frame.C. fits the frame to the composition.D. can vary the aspect ratio of the composition.Answer: ATopic:The FramePage Number: 47Difficulty Level: ModerateSkill Level: Understand the conceptLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.5. Most movies today are projected in one of two aspect ratios: 1.85:1 andA. 1.33:1.B. 1:1.C. 2.35:1 .D. 1.66:1.Answer: CTopic:The FramePage Number: 47Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 1. Identify the two main screen aspect ratios and evaluate how directorshave used masks and other techniques in order to both enhance and overcome them.6. Filmmakers always think in terms of a framed image. Some of them, like Steven Spielberg,carry what portable device to help them pre-frame an image?A. a viewfinderB. a zoom lensC. a photographD. a plateAnswer: ATopic:The FramePage Number: 49Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 1. Identify the two main screen aspect ratios and evaluate how directorshave used masks and other techniques in order to both enhance and overcome them.7. The area of the frame that often suggests powerlessness is theA. center.

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16B. top.C. left/right edge.D. bottom.Answer: DTopic:The FramePage Number: 55Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.8. Highly symmetrical designs are generally used when a director wishes to stressA. chaos.B. stability.C. imbalance.D. confusion.Answer: BTopic:The FramePage Number: 58Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.9. In movies, the __________ is usually the determining factor in composition.A. the need for balanceB. the photographable materialC. dramatic contextD. aspect ratioAnswer: CTopic:Composition and DesignPage Number: 61Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.10. Filmmakers outside the classical tradition tend to favor compositions that areA. balanced.B. symmetrical.C. off-center.D. uneven.

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17Answer: BTopic:Composition and DesignPage Number: 61Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.11. In black-and-white movies, the dominant contrast is generally achieved throughA. the use of color.B. the juxtaposition of shapesC. the use of lines.D. the juxtaposition of lights and darks.Answer: DTopic:Composition and DesignPage Number: 62-64Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.12. Movie images are generally scanned by a viewerA.in a structured sequence of eye-stops.B. from right to left.C. from bottom to top.D. randomly.Answer: ATopic:Composition and DesignPage Number: 63Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.13. Psychological experiments have revealed that certain lines suggest directional movements. Ifmovement is perceived, horizontal lines tend to moveA. from top to bottom.B. downward.C. from right to left.D. from left to right.Answer: DTopic:Composition and Design

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18Page Number: 66Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.14. Parallelism is a common principle of design, implyingA. unity.B. conflict.C. chaos.D. weakness.Answer: ATopic:Composition and DesignPage Number: 66Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.15. Directors generally emphasize __________ in their images precisely because they wish toavoidan abstract, flat look in their compositions.A. colorB. widthC. volumeD. heightAnswer: CTopic:Territorial SpacePage Number: 67Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.16. The amount of __________ included within the frame can radically affect our response to thephotographed materials.A. colorsB. shapesC. foliageD. spaceAnswer: DTopic:Territorial SpacePage Number: 68Difficulty Level: Moderate

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19Skill Level: Understand the ConceptsLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.17. In his studyOn Aggression, psychologist Kondrad Lorenz discusses how most animals—including humans—areA. bipedal.B. territorial.C. color blind.D. calm.Answer: BTopic:Territorial SpacePage Number: 68Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.18. A director can make a viewer feel insecure by doing what with respect to a character weidentify with, as Mike Nichols did inThe Graduate.A. by placing a hostile foreground element between us and the character we identify withB. by removing all background elements behind the character we identify withC. by placing the characters at a social distance from the cameraD. by placing the character at a personal distance from the cameraAnswer: ATopic: Territorial SpacePage Number: 69Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.19. An actor can be photographed in any of five basic positions. Which position is most intimatewith respect to the audience?A. quarter-turnB. profileC. full-frontD. back to cameraAnswer: CTopic:Territorial SpacePage Number: 75Difficulty Level: EasySkill Level: Remember the Facts

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20Learning Objective: 4. Diagram the five basic positions in which an actor can be photographed,and describe the different psychological undertones of each.20. If a director wanted to portray an intimate, romantic conversation between a man and awoman, what would be the most advantageous way to stage the two characters?A. both in profile, looking at each otherB. both facing full-front, looking directly at the cameraC. one in profile and one facing full frontD. one with their back to the camera, one facing full frontAnswer: ATopic: Territorial SpacePage Number: 80-81Difficulty Level: ModerateSkill Level: Analyze ItLearning Objective: 4. Diagram the five basic positions in which an actor can be photographed,and describe the different psychological undertones of each.21. Anthropologist Edward T. Hallsubdivided the way people use space into __________ majorproxemic patterns.A. sixB. fiveC. fourD. threeAnswer: CTopic:Proxemic PatternsPage Number: 81Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.22.Social distances range fromA.eighteen inches away to about four feetB.four feet to about twelve feetC.from skin contact to about eighteen inches awayD.twelve feet to twenty-five feet and moreAnswer: BTopic:Proxemic PatternsPage Number: 82Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.

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2123. In movies, proxemic patterns are generally most closely related toA.the shots and their distance ranges.B. the number of people in the scene.C. how many people are in the theater.D. cultural norms.Answer: ATopic:Proxemic PatternsPage Number: 82Difficulty Level: ModerateSkill Level: Apply What You KnowLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.24.Each proxemic pattern has an approximate camera equivalent. The social distancescorrespond toA. medium or full shots.B. close-ups or extreme close-ups.C. long shots.D. extreme long shots.Answer: ATopic:Proxemic PatternsPage Number: 82Difficulty Level: ModerateSkill Level: Analyze ItLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.25.Which one of these best explains why Charlie Chaplin would choose an intimate proxemicdistance for the camera in the final scene ofCity Lights?A. to heighten the tragedy of the sceneB. to heighten the comedy of the sceneC. to increase the audience’s objectivity to the sceneD. to lessen the audience’s connection to the TrampAnswer: ATopic:Proxemic PatternsPage Number: 85Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.26. In terms of design, open form emphasizes

Test Bank for Understanding Movies, 14th Edition - Page 25 preview image

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22A. formality.B. self-consciousness.C. organization.D. unobtrusiveness.Answer: DTopic:Open and Closed FormsPage Number: 86Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.27. Because they are influenced by __________ films, realist directors prefer open forms.A. documentaryB. classicalC. colorD. black-and-whiteAnswer: ATopic:Open and Closed FormsPage Number: 87Difficulty Level: ModerateSkill Level: Analyze ItLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.28. __________ more precisely controlled in closed forms than open.A. Color isB. Lighting isC. Mise en scène isD. Angles areAnswer: CTopic:Open and Closed FormsPage Number: 88Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.29. In open-form movies likeTraffic, the __________ generally leads the camera.A. lightingB. dramatic actionC. settingD. mise en scène

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23Answer: BTopic:Open and Closed FormsPage Number: 89Difficulty Level: EasySkill Level: Remember the FactsLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.30.Anticipatory setups tend to implyA. fatality.B. spontaneity.C. free will.D. choice.Answer: ATopic:Open and Closed FormsPage Number: 89Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.Essay Questions31. Explain why miseen scèneis more complicated in film than it is in live theater.Answer: The ideal answer should include:1.Originally a French theatrical term meaning “placing on stage,” the phrase refers to thearrangement of all the visual elements of a theatrical production within a given playing area—thestage.2.No matter what the confines of the stage may be, its mise en scène is always in three dimensions.Objects and people are arranged in actual space, which has depth as well as height and width. Thisspace is also a continuation of the same space that the audience occupies, no matter how much atheater director tries to suggest a separate “world” on the stage.3. Mise en scène in film is a blend of the visual conventions of the live theater with those ofpainting.4. Like the stage director, the filmmaker arranges objects and people within a given three-dimensional space. But once this arrangement is photographed, it’s converted into a two-dimensionalimage of the real thing.5. The space in the “world” of the movie is not the same as that occupied by the audience. Only theimage exists in the same physical area, like a picture in an art gallery.6. Mise en scène in the movies resembles the art of painting in that an image of formal patternsand shapes is presented on a flat surface and is enclosed within aframe. But cinematic mise enscène is also a fluid choreographing of visual elements that are constantly in flux.Topic: IntroductionPage Number: 2

Test Bank for Understanding Movies, 14th Edition - Page 27 preview image

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24Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.32. Explain how the fixed frame of a movie screen affects the way a director shoots a particularobject or scene. What are some of the challenges presented by the constant size of the movieframe?Answer: The ideal answer should include:1. In the traditional visual arts, frame dimensions are governed by the nature of the subject matter.Thus, a painting of a skyscraper is likely to be vertical in shape and would be framed accordingly. Avast panoramic scene would probably be more horizontal in its dimensions. But in movies, the frameratio is standardized and isn’t necessarily governed by the nature of the materials being photographed.2. The constant size of the movie frame is especially hard to overcome in vertical compositions. Asense of height must be conveyed in spite of the dominantly horizontal shape of the screen.3. One method of overcoming the problem is through masking. InIntolerance,for example,D. W.Griffith blocked out portions of his images through the use of black masks. Thesein effect connectedthe darkened portions of the screen with the darkness of the auditorium.4. To emphasize the steep fall of a soldier from a wall, the sides of the image were masked out.Tostress the vast horizon of a location, Griffith masked out the lower third of the image—thuscreating awidescreen effect.Topic: The FramePage Number: 49-53Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 1. Identify the two main screen aspect ratios and evaluate how directorshave used masks and other techniques in order to both enhance and overcome them.33. Explain how the frame can act as an aesthetic device in movies.Answer: The ideal answer should include:1.The sensitive director is just as concerned with what’s left out of the frame as with what’sincluded. The frame selects and delimits the subject, editing out all irrelevancies and presentingus with only a “piece” of reality.2. The frame is thus essentially an isolating device, a technique that permits the director to conferspecial attention on what might be overlooked in a wider context.3. The movie frame can function as a metaphor for other types of enclosures. Some directors usethe frame voyeuristically. In many of the films of Alfred Hitchcock, for example, the frame islikened to a window through which the audience may satisfy its impulse to pry into the intimatedetails of the characters’ lives. In fact, bothPsychoandRear Windowuse this peeping techniqueliterally.4. Certain areas within the frame can suggest symbolic ideas. By placing an object or actorwithin a particular section of the frame, the filmmaker can radically alter his or her comment onthat object or character. Placement within the frame is another instance of how form is actuallycontent. Each of the major sections of the frame—center, top, bottom, and sides—can beexploited for such symbolic purposes.Topic: The Frame

Test Bank for Understanding Movies, 14th Edition - Page 28 preview image

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25Page Number: 53Difficulty Level: ModerateSkill Level: Analyze ItLearning Objective: 3. Describe how the three visual planes suggest depth in a scene and howthe use of this territory can act as a means of communication.34. Explain the way the human eye perceives a movie composition and briefly explain howdirectors Roman Polanski and Orson Welles used composition and visual design differently intheir adaptations of Shakespeare’sMacbethto enhance the ideas of madness and isolation.Answer: The ideal answer should include:1. Movie images are generally scanned in a structured sequence of eye-stops. The eye is firstattracted to a dominant contrast that compels our most immediate attention by virtue of itsconspicuousness. The eye then travels to the subsidiary areas of interest within the frame.2. Roman Polanski’s presentation of Lady Macbeth’s isolation and madness is conveyed in arelatively realistic manner, with emphasis on acting and subtle lighting effects.3. For example, in one shot where Lady Macbeth lies next to her husband in bed, Polanski lit theshot in high contrast, with Lady Macbeth brightly lit and her husband lit in a more subduedmanner. She is also surrounded by darkness except for the brightly lit “empty” space between herand her husband. This emphasizes the dramatic context of the film, for Lady Macbeth is slowlydescending into madness and feels spiritually alienated and isolated from her husband.4. Orson Welles took a more formalistic approach, using physical objects with the frame toconvey Lady Macbeth’s interior states.5. For example, in one shot Welles photographs Lady Macbeth next to an iron fence’s knifelikeblades, which almost seem to pierce the character’s body. The fence is not particularly realisticor even functional. Welles exploited it primarily as a symbolic analogue of her inner torment.Topic: Composition and DesignPage Number: 63Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 2. Analyze the way the human eye perceives a composition and the waydesign and the geography of the frame is used to enhance a thematic idea.35. Explain how the amount of space included within the frame can radically affect our responseto the photographed materials.Answer: The ideal answer should include:1. With any given subject, the filmmaker can use a variety of shots, each of which includes orexcludes a given amount of surrounding space.2. The way we respond to objects and people within a given area is a constant source of information inlife as well as in movies. In virtually any social situation, we receive and give off signals relating toour use of space and those people who share it.3. The way that people are arranged in space can tell us a lot about their social and psychologicalrelationships. In film, dominant characters are almost always given more space to occupy thanothers—unless the film deals with the loss of power or the social insignificance of a character.4. A master of mise en scène can express shifting psychological and social nuances with a single shotby exploiting the space between characters.

Test Bank for Understanding Movies, 14th Edition - Page 29 preview image

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265. The amount of open space within the territory of the frame can be exploited for symbolic purposes.Generally speaking, the closer the shot, the more confined the photographed figures appear to be.Such shots are usually referred to as tightly framed. Conversely, longer, loosely framed shots tend tosuggest freedom.Topic: Territorial SpacePage Number: 68-77Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective:3. Describe how the three visual planes suggest depth in a scene and how theuse of this territory can act as a means of communication.36. How do proxemic patterns relate to the various types shots in filmand their distance ranges,and what effect do they have on the viewer?Answer: The ideal answer should include:1.In terms of psychological effect, the various shots tend to suggest physical distances.2.Usually, filmmakers have a number of options concerning what kind of shot to use to conveythe action of a scene. What determines their choice is the emotional impact of each of thedifferent proxemic ranges.3. Each proxemic pattern has an approximate camera equivalent. The intimate distances, forexample, can be likened to the close up. The personal distance is approximately a medium shot.The social distances correspond to the full shotranges. And the public distances are roughlywithin the long and extreme long shot ranges.4. In general, the greater the distance between the camera and the subject, the more emotionallyneutral we remain. Conversely, the closer we are to a character, the more we feel that we’re inproximity with him and hence the greater our emotional involvement.5. “Long shot for comedy, close-up for tragedy” was one of Charles Chaplin’s most famouspronouncements. The proxemic principles are sound, for when we are close to an action—aperson slipping on a banana peel, for example—it’s seldom funny, because we are concerned forthe person’s safety. If we see the same event from a greater distance, however, it often strikes usas comical.Topic:Proxemic PatternsPage Number: 81-85Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 5. Explain the four main proxemic patterns in film and culture, and describehow the distances between characters can be used to establish the nature of their relationships.37. Explain how a director like Gillian Armstrong, through the use of open and closed forms,tackles the problem of period films having a tendency to look stagey and researched.Answer: The ideal answer should include:1. Period films often have a tendency to look stagey and researched, especially when thehistorical details are too neatly presented and the characters are posed in a tightly controlledsetting.2. InMrs. SoffelGillian Armstrong avoided this pitfall by staging many of her scenes in openform, almost like a documentary caught on the run.

Test Bank for Understanding Movies, 14th Edition - Page 30 preview image

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273. Armstrong photographed the main character and her children in such a way as to almostobscure them with the surrounding foreground and background environment and unimportantdetails like extras.4. A more formalist director would have eliminated such foreground and background“distractions” and the clutter and brought the principal characters toward the foreground.5. Armstrong achieves a more realistic and spontaneous effect by deliberately avoiding an“arranged” look in her mise en scène through the use of open forms.Topic:Open and Closed FormsPage Number: 86Difficulty Level: DifficultSkill Level: Apply What You KnowLearning Objective: 6. Illustrate why open and closed forms serve as two distinct attitudes aboutreality and list in which circumstances they each prove most effective.

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28TEST BANK FOR CHAPTER 3: MOVEMENTMultiple Choice1. Like the words kinetic, kinesthesia, and choreography, cinema derives from the Greekword forA. genre.B. pattern.C. seeing all.D. movement.Answer: DTopic: KineticsPage Number: 96Difficulty Level: ModerateSkill Level: Remember the FactsLearning Objective: 1. Describe the three main types of motion and kinetic arts, and explain howeach type can be affected by stylization.2. A naturalistic actor like Bruce Willis uses only what kind ofmovements?A. lyricalB. stylizedC. realisticD. balleticAnswer: CTopic: KineticsPage Number: 96Difficulty Level: EasySkill Level: Understand the ConceptsLearning Objective: 1. Describe the three main types of motion and kinetic arts, and explain howeach type can be affected by stylization.3. Which one of these actors’ movements would be considered the most stylized?A. Gene KellyB. Charlie ChaplinC. Marcel MarceauD. Bruce WillisAnswer: CTopic: KineticsPage Number: 96Difficulty Level: ModerateSkill Level: Understand the ConceptsLearning Objective: 1. Describe the three main types of motion and kinetic arts, and explain how

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