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| A thin sheet or strip of flexible material, such as a cellulose derivative or a thermoplastic resin, coated with a photosensitive emulsion and used to make photographic negatives or transparencies |
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| A series of pictures projected on a screen in rapid succession with objects shown in successive positions slightly changed so as to produce the optical effect of a continuous picture in which the objects move |
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A unifing or dominant idea or motif.
A specific and distinctive quality, characteristic or concern. |
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| speaks to which particular thematic elements are most strongly and consistently utilized to convey theme in a particular film. |
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| The quality of an object or substance with respect to the light reflected by the object, usually determined visually by measurement of hue, saturation, and brightness of the reflect light. |
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| Characterization is a Term most readily assicoiated with |
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| An example of "painterly" use of color in mise-en-scene presented to you was: |
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| The ideas explored as a film unfolds speaks specifically to a film's: |
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| This cinematic point-of-view brings the viewer very close to the action in an effort to intensify an emotional reaction, convey intimacy or secrecy and/or draw attention to a particular activity: |
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| Repeated use of This color in costuming suggests a character's affiliation with criminal power in Dick Tracy: |
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| This film utilizes color in such a way as to suggest newsprint comic art: |
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| With regard to camera distance and framing, this shot singles out a portion of the face or isolates and magnifies a small object: |
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| Mise-en-Scene and perspective |
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| Cinematography is primarily concerned with: |
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| Use of this technique during a party scene in Requiem for a Dream suggests the passage of a significant amount of idle time: |
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| This lens squashes planes, as with a telescope or binoculars, making distant objects appear as if they are all on the same plane, close together: |
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| This camera perspective reinforces a sense of immediacy and emotional intensity by providing the viewer with a character;s particular point-of-view. |
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| The cinematograph brings…the spectacle of distant, enjoyable, moving or instructive things: it spreads culture and stimulates everywhere the eternal desire for the representation of life in its totality” is attributed to: |
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| Post-Production color processing renders this film black and white, but retains or adds color for select objects: |
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| The opening scene of Memento depicts a Polaroid photograph "Undeveloping" or going from a sharp, clear photographic image to a blank Polaroid film in a matter of seconds, which employs this technique: |
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| The cinematic perspective that provides "the visual viewpoint and emotional intensity felt by a character participating in the action," and reinforces the viewer's sense of the character's experience from that character's viewpoint is_____________ perspective. |
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| The palette in this film is limited to seven colors, but primarily utilizes red, green, blue and yellow, and all in consistent shades/saturation throughout the film: |
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| A primary source of light, which provides the dominant source of light for the scene is called: |
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| Speed of motion that employs blurring traffic, "Super-Hero" speed/power, comical speed of activities and passage of time are characteristic of: |
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| In Requiem for a Dream, extreme close-up of inanimate objects are repeatedly utilized to suggest: |
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| Romance, horror, drama, action-adventure, and detective are classifications associated with the term: |
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| The Diving Bell and the Butterfly |
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| One film that demonstrates a particular and pronounced use of canted angles and subjective perspective is: |
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| Parallel lines recede to vanishing points in much the same way the line of horizon does with the eye using this lens: |
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| Speed of motion that shows a bullet or arrow traveling, shattering glass, or a water droplet falling and splashing is referred to as: |
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| Post-Production color correction renders in this film distinct color overlays that distinguish setting, character and story line: |
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| Speed of motion that shows the setting sun, the blooming of a flower, the shifting of constellations in the night sky, and thus suggests passage of time is referred to as: |
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| The Diving Bell and the Butterfly |
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| One film that demonstrates a particular and pronounced used of canted angles and subjective perspective is: |
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| Coming of Age is a term most readily associated with: |
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| The sixth and seventh art |
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| According to Canudo, film combines the disciplines of painting, architecture, music, poetry, sculpture and dance, consequently, he defined film as: |
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| Lighting that utilizes fill light and backlight to create low contrast between bright and dark areas, and render shadowy areas visible, and whose overall design is a soft, highly lit scene used for day AND night scenes is called: |
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| Light that softens or eliminates shadows cast be primary light is called: |
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| O, Brother, Where Art Thou? |
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| Post-Production color correction renders this film entirely in a sepia tone to suggest the look of an "old, hand-tinted picture" consistent with the film's implied time period: |
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| This formal element of cinematography can be used to convey theme, create mood, establish or underscore characterization, distinguish setting and story lines, and can function as a symbolic element: |
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| In this shot, the background or broad scenery dominates, and the human figure is lost or tiny: |
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| This term speaks to which particular thematic elements are most strongly and consistently utilized to convey theme in a particular film: |
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| Speed of motion that suggest fantasy/dream sequence, emphasis of power or gesture, rendering of detail, or to dwell on an intense moment/event is typically referred to as: |
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| This lens exaggerates depth because distance between foreground and background seem greater and distorts lines near the edges of the frame: |
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| Movies are “…metaphors through which we conceptualize reality in one way or another. They will classify the world for us, sequence it, frame it, enlarge it, reduce it, argue a case for what it is like. Through these media metaphors, we do not see the world as it is. We see it as our coding systems are. Such is the power of the form…” |
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| A digital post-production process that creates the effect variable shooting speeds by shifting speed of movement smoothly and rapidly is known as: |
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| Reverse motion is utilized in memento to suggest this defining characteristic of the main character: |
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| Red-Green, Blue Yellow and black-white |
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| In the brain, color is processed via one of three existing transmission processes or channels. These are: |
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| The ratio of frame width to frame height is known as: |
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| The cinematographer's use of the camera lens, and what, in the frame of his/her shot, is sharply in focus, what is not, and how that focus changes through the duration of a scene is referred to as: |
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| In A Perfect World, this is perspective is frequently utilized to imply the close relationship developing between the escaped convict and the boy, and because much of the drama unfolds inside a vehicle: |
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| The use of color in this film's mise-en-scene is ironic, in that the pastel palette and contrasting gothic darkness create false character expectations: |
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Definition
| In Traffic, a yellow wash on narrative sequences imply the action is taking place in: |
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| Western is a term most readily associated with: |
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| This cinematic point-of-view is sometimes referred to as a "window" effect, in that it does not comment on or interpret action unfolding before it: |
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| This lens permits continuing variance of focal length during a single shot and allows for a fixed; not necessary to move camera forward or backward to change focal length: |
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| Lighting that creates high contrast between bright and dark areas and in which fill and backlight are far less intense, rendering darker shadows is called: |
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Definition
| This lens is used to ensure minimal perspective distortion: |
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| This film utilizes both black and white sepia-tinted sequences, as well as three-strip Technicolor sequence to convey distinct differences in setting: |
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Term
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Definition
| Reverse motion is utilized in Memento to suggest this defining characteristic of the main character: |
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Term
| Red-green, blue-yellow and black-white |
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Definition
| In the brain, color is processed via one of three existing transmission processes or channels. These are: |
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Term
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Definition
| The ratio of frame width to frame height is known as: |
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Definition
| The cinematographer’s use of the camera lens, and what, in the frame of his/her shot, is sharply in focus, what is not, and how that focus changes through the duration of a scene is referred to as: |
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Term
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Definition
| In A Perfect World, this perspective is frequently utilized to imply the close relationship developing between the escaped convict and the boy, and because much of the drama unfolds inside a vehicle: |
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Term
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Definition
| The use of color in this film’s mise-en-scene is ironic, in that the pastel palette and contrasting gothic darkness create false character expectations: |
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Term
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Definition
| In Traffic, a yellow wash on narrative sequences imply the action is taking place in: |
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Definition
| In A History of Violence, the initial and abrupt contrast shown between a double murder that occurs in a motel office, and a family consoling a child waking up from a nightmare about monsters provides an early indication of: |
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Definition
| Western is a term most readily associated with: |
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Definition
| This cinematic point-of-view is sometimes referred to as a “window” effect, in that it does not comment on or interpret action unfolding before it: |
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Definition
| This lens permits continuing variance of focal length during a single shot and allows for a fixed camera; not necessary to move camera forward or backward to change focal length: |
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Term
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Definition
| Lighting that creates high contrast between bright and dark areas and in which fill and backlight are far less intense, rendering darker shadows is called: |
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| Writing the founding text to defend film as an art form |
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| Ricciotto Canudo is widely credited for: |
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Definition
| This lens is used to ensure minimal perspective distortion: |
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Term
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Definition
| This film utilizes both black and white sepia-tinted sequences, as well as three-strip Technicolor sequences to convey distinct differences in setting: |
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| continues to grow, despite the growing home viewing audience |
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| Attendance at movie theaters |
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| Film shares the ability to exploit the subtle interplay of light and shadow with which art form(s)? |
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| Film shares with which art form(s) in particular the ability to verbally communicate through imagery, metaphor and symbol? |
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| becoming totally immersed in the experience while maintaining critical detachment. |
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Definition
| Which of the following is the most challenging aspect of film analysis? |
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| it possesses qualities of free and constant motion that convey an overwhelming sense of reality. |
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Definition
| Film is considered unique as an art form because |
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| helps movies communicate directly to their audiences. |
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| The use of concrete images and sounds in film |
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| can help viewers become "cineliterate" by allowing them to replay any part of the movie for further scrutiny and enjoyment |
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| . Watching a movie on videotape or disc |
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| as a vapid, colorless medium devoid of intelligence. |
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| How does Aldous Huxley's classic novel Brave New World depict the film experience of the future? |
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| Television viewing of films has generally compromised what aspect of film viewing the most? |
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| reach more definite conclusions about the film's meaning and value. |
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| Film analysis should help the viewer |
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| can range from the lyric to the epic. |
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| A film's mood and treatment |
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| the existence of a unified and rationally structured artistic whole. |
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| As a mode of criticism, film analysis presupposes |
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| can range from the purely objective to the intensely subjective. |
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| have an intuitive grasp of its overall meaning. |
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| If a film is effective, a viewer should |
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| communicate effectively as purely intuitive, subjective or sensual experiences. |
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Definition
| Many experimental, underground, or unstructured films |
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| can be enhanced by understanding how the various elements of a movie function interrelationally. |
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| A love of or intense appreciation of the film medium |
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| the sharpening of the viewer's critical judgments. |
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Definition
| One benefit of learning how to analyze films involves |
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| breaking up the whole movie to discover the nature, proportion, function and interrelationship of each of its important parts. |
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| Analysis of film generally means |
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Definition
| The two ingredients most likely to cause "over response" reactions to a film are |
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| Which of the following tends to be the filmmaker focus for a film that is exciting and fast paced, and in which the final outcome is all-important? |
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| focus on emotional effect or mood |
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| Most horror films and romantic tone poems have which primary focus? |
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Definition
| Films that concentrate on the total personality of a unique individual tend to exhibit which of the following? |
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| A unique "look," "feel," rhythm, atmosphere, or organization in a film suggests a filmmaker focus on |
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| focus on ideas: moral implications |
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| Which of the following describes a film that stresses the wisdom of a certain principle or type of behavior? |
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| focus on ideas: human nature |
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| Which of the following would apply to a film that centers on universal or representative characters with significance beyond themselves? |
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| focus on ideas: complexity of human relationships |
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Definition
| Which of the following would apply to a film that centers on the problems, frustrations, pleasures, and joys of love, friendship, marriage, divorce, family interactions, sexuality, and so on? |
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| central idea about the struggle for human dignity |
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Definition
| The struggles of boxers are often the focus of films with what kind of theme category? |
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Definition
| Images, patterns, or ideas that are repeated throughout a film and are variations or aspects of the major theme are referred to as |
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| the sum total of all the film elements |
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Definition
| The theme or focus of a well-made, structured film will be revealed in |
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| provides a balanced combination of two emotions in which it is difficult to tell which is dominant. |
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Definition
| Ang Lee's film Taking Woodstock is an example of a film that |
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| were considered powerful or relevant at the time of their original release but appear dated today. |
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Definition
| Movies that are limited thematically to a specific time or place |
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| the plot is significant primarily because it helps us understand the character being developed. |
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Definition
| When character serves as the focus or theme for a film, |
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| rare in the contemporary era. |
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Definition
| Films that are structured around a strong moral statement are |
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| central concern or focus that unifies the film |
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Definition
| When applied to film, the term theme means the |
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| deals with a unique individual instead of universal types. |
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Definition
| The difference between a character theme and a "human nature" theme is that the character theme |
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| a moral or philosophical riddle |
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Definition
| Communication primarily through symbols or images occurs in a movie that focuses on |
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Term
| the vices and follies of specific traditions, systems, and institutions are dramatized--sometimes satirically, sometimes seriously. |
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Definition
| In a film that thematically focuses on social problems, |
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Term
| the emphasis remains on fast-paced action or twists and turns in the storyline to allow the audience temporary escape from real life. |
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Definition
| In a film that focuses almost exclusively on plot, |
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| the major appeal lies in the qualities that set the protagonist apart from ordinary people. |
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| In a film that focuses on a single unique character, |
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Term
| show human activity in a small area as representative of the human condition in the world as a whole. |
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Definition
| The symbolic setting known as "microcosm" is used to |
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| film set in some previous time in history. |
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Definition
| A period piece refers to a |
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| as reflection of character. |
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Definition
| The descriptions of the Usher house in Edgar Allen Poe's "The Fall of the House of Usher" is an example of setting |
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Term
| also create a world outside, often using scenic backings that have been photographed. |
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Definition
| When designing interior sets that have windows, the production designer will |
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Term
| exaggerating his size and dominance |
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Definition
| To what effect is the low-angle shot of the British naval officer used at the end of the 1953 film Lord of the Flies? |
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Term
| dwarfing of the subject and diminishing its importance |
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Definition
| Which of the following takes place in a high-angle shot? |
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| indication of the subject's love for another character |
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Definition
| . What is achieved by soft focus in the film Mr. Smith Goes to Washington? |
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Term
| approximates the human eye's ability to see a deep range of objects in clear focus. |
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Definition
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Term
| involves moving the camera's "line of sight" in a horizontal plane, left or right. |
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Definition
| involves moving the camera's "line of sight" in a horizontal plane, left or right. |
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Term
| approximates the vertical movement of an audience member's head and eyes. |
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Definition
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Term
| we are consciously aware that the director wants us to view the action in some unusual way. |
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Definition
| With the director's interpretive point of view, |
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Term
| unusual subjective states such as dreams, fantasies or intoxication |
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Definition
| For what is the fish-eye lens often used? |
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Term
| a heightened sense of reality through a subjective viewpoint. |
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Definition
| The handheld camera is most often used for |
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Term
| compresses or shortens the distance between objects in the foreground and background. |
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Definition
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Term
| as a welcome attempt to expand the narrow boundaries of feature animation |
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Definition
| How did critic Richard Corliss describe the animated film The Prince of Egypt? |
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Term
| quality of continuous motion |
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Definition
| The first and most essential property of the cinematic film is its |
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Definition
| When the camera lens shifts focus in one continuous shot to objects in different planes of depth one after another, this is called |
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Definition
| The rate at which film runs through a movie camera or projector is |
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Term
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Definition
| According to standard principles of visual composition, feelings of strength, authority, and dignity are suggested by |
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Term
| an area of the screen with no interesting visual information |
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Definition
| Dead screen refers to which of the following? |
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Term
| films in which the special effects visuals overwhelm the story and characters. |
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Definition
| The text offers the films Blade Runner, The Thing, and Bram Stoker's Dracula as examples of |
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Term
| looking through a window. |
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Definition
| The fixed camera frame approximates the effect of |
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Term
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Definition
| A type of lens that keeps an image in constant focus while appearing to glide toward or away from the subject without any camera movement is called |
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Term
| audiences' visual conditioning by TV commercials to follow quick cuts without confusion |
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Definition
| Why do most modern filmmakers not make use of the traditional transition devices such as wipes, dissolves, and fades? |
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Term
| the frequency of editorial cuts and the duration of shots. |
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Definition
| The most dominant tempo or compelling rhythm of the film results from |
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Term
| mark the end of a powerful dramatic sequence. |
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Definition
| The most common use of the freeze frame is to |
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Term
| an inside/out editing pattern |
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Definition
| When a scene begins with a close-up detail shot and then, in a series of unrelated shots, backs off from the detail to show its relationship to a larger visual setting, the editor is using |
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Term
| of near equal importance to the role of the director. |
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Definition
| The role of the editor in constructing the finished film is |
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Term
| the audience shouldn't be able to notice its role or pay special attention to it, if the editors do their job properly. |
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Definition
| When filmmakers or critics say that editing is "invisible," they are claiming that |
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Term
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Definition
| When the shape of an object is matched to a similarly shaped object in the next shot. This type of editing device is known as |
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Term
| Dailies give the director and cinematographer the chance to throw out bad shots before the mass of filmed scenes goes to the editor. |
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Definition
| Which of the following is an accurate description of the effect of dailies on an editor's work? |
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Term
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Definition
| The climax of The Godfather, juxtaposing shots of the church ceremony in which Al Pacino's character is taking part as the godfather at his infant nephew's baptism with shots of brutal violence taking place at the same time ordered by him to consolidate his power as a godfather in the Mafia, is a powerful modern example of |
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Term
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Definition
| Which of the following might be used by the editor to suggest the entire eight-hour shift of a factory worker in just a minute or two? |
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Term
| by not showing a portion of the action |
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Definition
| How does a jump cut speed up action? |
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Term
| the linking of a series of scenes together to form much of the film's dramatic structure |
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Definition
| Which of the following describes a sequence? |
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Term
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Definition
| The great Russian filmmaker Sergei Eisenstein advanced influential theories of which of the following? |
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Term
| A piece of bone flung into the air dissolves into a similarly shaped orbiting object in the following sequence in the film 2001. |
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Definition
| Which of the following would be considered a form cut? |
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Term
| creating the impression that actions in different locations are happening simultaneously |
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Definition
| Which of the following is the goal of crosscutting? |
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Term
| to create a sharp contrast with normal motion |
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Definition
| To what purpose is slow motion used in the scene in Chariots of Fire where the Olympic runners are pictured in slow motion as they walk into the stadium to prepare for their event? |
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Term
| to create a plot suspense based on linkage between two freeze frames |
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Definition
| To what effect does Woody Allen use the freeze frame in his film Match Point? |
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Term
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Definition
| Mise-en-scene focuses on the creative process that occurs essentially |
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Term
| the color of an object as it appears in the context of its natural environment, which usually renders it complex and constantly changing. |
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Definition
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Term
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Definition
| In the film Batman, production designer Anton Furst used film-noir lighting and extreme use of color to make _______the single most powerful character in the film. |
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Term
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Definition
| How did director Franco Zeffirelli use color to capture the mood of Hamlet and the coldness and starkness of medieval Denmark? |
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Term
| a color of maximum intensity, as unadulterated and pure as it can ever be. |
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Definition
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Term
| the proportion of light or dark in a color. |
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Definition
| Value refers to which of the following? |
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Term
| creating the illusion of three-dimensionality |
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Definition
| Advancing colors are particularly well-suited to |
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Term
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Definition
| Which of the following are color schemes created by employing colors adjacent to one another on the color wheel, such as red, red-orange, and orange? |
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Term
| transition between two separate worlds. |
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Definition
| For what purpose are changes between the use of black-and-white and color used in the film The Navigator: A Medieval Odyssey? |
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Term
| that it will be a realistic film and the material will not be treated sensationally. |
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Definition
| What does Martin Scorsese seem to convey with his use of black and white behind the opening titles of his film Raging Bull? |
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Term
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Definition
| According to researchers, the color that seems to attract attention better than any other is |
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Term
| was very expensive and did not reproduce flesh tones accurately. |
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Definition
| Technicolor's early use of color film |
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Term
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Definition
| Which of the following best describes the use of color during the prolonged slaughter sequence at the end of Taxi Driver? |
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Term
| colors directly opposite one another on the color wheel, such as red and green. |
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Definition
| Complementary harmonies result from |
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Term
| colors are manipulated to make us experience the inner reality of a character. |
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Definition
| Colors can be said to be used expressionistically when |
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Term
| modern anomalies, because they are filmed in black and white. |
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Definition
| The text offers the two films The Man Who Wasn't There (2001), by the Coen brothers, and George Clooney's Good Night, and Good Luck as examples of what? |
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Term
| Studio heads feared it would turn off the audience and so released the film without the golden effect. |
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Definition
| Which of the following is true of John Huston's experimental golden hue in the film Reflections in a Golden Eye? |
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Term
| s so appealing to the eye that it distracts attention away from the subtle drama. |
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Definition
| The text makes the argument that the use of the color red in Ingmar Bergman's Cries and Whispers |
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Term
| are used expressionistically to reflect the inner reality of the main character. |
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Definition
| n Michelangelo Antonioni's Red Desert, the garish colors of factory vats, pipelines, slag heaps, poisonous yellow smoke, and other parts of the setting |
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Term
| add sound effects during post production. |
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Definition
| The job of a Foley artist is to |
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Term
| layering as many as fifty different sounds, including abstract sounds like those of a jet airplane taking off. |
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Definition
| The fight-scene sound effects in Raging Bull were devised by |
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Term
| for a shower scene, using a sound that was much more like sizzling steam |
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Definition
| Which of the following was one of the ways in which Skip Lievsay used sound to raise the temperature of Spike Lee's Do the Right Thing? |
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Term
| through the use of a dead screen |
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Definition
| How does Orson Welles amplify the effect of the opera performance in his film Citizen Kane? |
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Term
| making us feel the pain of the bank robbers more viscerally as they are shot. |
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Definition
| The use of slow motion sound at the end of the film The Long Riders has the effect of |
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Term
| demonstrate Terry's internal fear at confusing the truth to Edie. |
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Definition
| When Terry hurries down the hill to meet Edie in On the Waterfront, the rhythmic hammering of a pile driver serves to |
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Term
| was first used in the 1953 Cinemascope production of The Robe. |
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Definition
| In the development of "three-dimensionality" in theatrical sound for movies, a four-track system |
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Term
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Definition
| Sound effects achieve their most original and effective results |
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Term
| sounds that would naturally and realistically emanate from the images seen on screen. |
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Definition
| Visible sounds, in a movie sound track, refers to |
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Term
| the narrator continually comments on not only the events of the story, but also the elements of filmmaking used to dramatize them. |
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Definition
| Voice-over narration is considered postmodern when |
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Term
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Definition
| The film Toy Story 3 pioneered the use of |
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Term
| the complete absence of sound in a film scene. |
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Definition
|
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Term
| it conveyed a sense of three-dimensionality without the benefit of the multiple sound tracks and speakers required for true stereo. |
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Definition
| Citizen Kane is generally considered to be the first modern sound film because |
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Term
| is postmodern in the sense that it comments on the structure of the filmmaking process itself. |
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Definition
| The voice-over narration in Days of Heaven |
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Term
| can be just as significant as visual images because the audience has to imagine rater than see whatever is being suggested through the sound effects. |
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Definition
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Term
| It can be delivered at a much more rapid pace than stage dialogue. |
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Definition
| Which of the following is true of film dialogue? |
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Term
| sounds natural to the scene's environment. |
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Definition
|
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Term
| serving as an aural bridge between scenes or sequences through the use of similar or identical sounds in both sequences |
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Definition
| What is the purpose of a sound link? |
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Term
| sound itself is an important plot device. |
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Definition
| Brian De Palma's Blow Out and Francis Ford Coppola's The Conversation are similar in that |
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Term
| judges a film in terms of how it relates to a body of "formula" films. |
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Definition
|
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Term
| focuses on the special skills, style, techniques, and philosophy of the director. |
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Definition
|
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Term
| focuses on the performances of major stars or film personalities. |
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Definition
| The actor showcase approach |
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Term
| examines films from socioeconomic perspectives |
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Definition
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Term
| the film is judged in relation to the director's entire canon. |
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Definition
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Term
| a composite approach that incorporates elements of other approaches. |
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Definition
| The eclectic approach to analyzing films is |
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Term
| be constantly changing and growing as we experience new types of films. |
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Definition
| Our personal guidelines for analyzing films should |
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Term
| bring about a better understanding or a keener appreciation of a film. |
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Definition
| The key function of a reviewer is to |
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Term
| "film as an emotional or sensual experience" approach. |
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Definition
| The approach to film that shows a strong anti-intellectual bias is the |
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Term
| They tend to reinforce the values and myths sacred to the mass audience for which they were made. |
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Definition
| Which of the following is true of genre films? |
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Term
| want no message in their films. |
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Definition
| The emotional or sensual approach is favored by those who |
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Term
| judges a film in terms of its significance or meaning beyond the context of the film itself. |
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Definition
|
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Term
| defining general principles. |
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Definition
| In the introduction to his collected reviews, On Movies, film critic Dwight Macdonald discusses the difficulty of |
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Term
| They tend to be inflexible. |
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Definition
| What is the basic problem with ground rules for watching, analyzing, interpreting, and evaluating films? |
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Term
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Definition
| Critic Vincent Canby describes the difficulty of applying which critical approach to the films of Alfred Hitchcock? |
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Term
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Definition
| The first step in analysis should be to get a fairly clear idea of the film's |
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Term
| Given the film's level of ambition, how well does the film succeed in what it tries to do? |
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Definition
| Which of the following would be the overall question to consider in an objective analysis of a film? |
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