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1 | |
In comic books, horizontal panels are |
| | A) | used only for the conflict and climax of the story. |
| | B) | used to increase tempo. |
| | C) | best used in sets of three. |
| | D) | used to decrease tempo. |
| | E) | none of the above. |
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2 | |
A film editor |
| | A) | selects the most compelling images from a mass of raw footage. |
| | B) | organizes the images into a cohesive whole. |
| | C) | develops the temporal framework and tempo for the film. |
| | D) | creates connections among shots. |
| | E) | all of the above. |
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3 | |
The number of cuts in a film can determine |
| | A) | the tempo. |
| | B) | the intensity. |
| | C) | the duration. |
| | D) | the emotion. |
| | E) | all of the above. |
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4 | |
Crosscutting is |
| | A) | the editing of a film using a splicing machine |
| | B) | a temporal connection created by cutting back and forth between two different events. |
| | C) | the cropping out of important information, therefore leaving the viewer confused. |
| | D) | generally used to increase the length of a film. |
| | E) | the synchronization of the audio track to the visual action within a film. |
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5 | |
A non-sequitur transition is |
| | A) | a logical shift from left to right. |
| | B) | an illogical connection between frames in a comic book. |
| | C) | commonly used to clearly define the connection between the past and the future. |
| | D) | a form of historical narrative. |
| | E) | a method used to alter the pace of the action in a comic book. |
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6 | |
The difference between the physical and temporal setting is |
| | A) | the physical setting focuses on the place where the story unfolds, whereas the temporal setting refers to the time period. |
| | B) | the physical setting includes props and the temporal setting includes clocks. |
| | C) | the physical setting includes an establishing shot whereas a temporal setting includes closeups. |
| | D) | the physical setting is permanent whereas the temporal setting is temporary. |
| | E) | the physical setting is constructed from reality whereas the temporal setting is fabricated and false. |
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7 | |
The word "duration", when used in relationship to time design, could refer to |
| | A) | the overall span of time that the story makes reference to. |
| | B) | the actual running length of the film. |
| | C) | the length of time depicted in the story. |
| | D) | both A & C. |
| | E) | A, B & C. |
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8 | |
List the four basic units used to compose sequential structures. |
| | A) | channel, program, scene and actors |
| | B) | lighting, shot length, transition and duration |
| | C) | frame, shot, scene and sequence |
| | D) | scene, intensity, loudness and pace |
| | E) | frame, setting, scope and timbre |
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9 | |
How did the film, Once Upon a Time in the West use observational intensity? |
| | A) | The camera focused on the interaction and conflict between the three bandits. |
| | B) | The leader of the bandits dressed in black while the sheriff dressed in white. |
| | C) | The camera recorded every detail of a bandit's face as a fly pestered him. |
| | D) | Most of the film focused on the point of view of one of the bandits. |
| | E) | Before the shoot out, the two main characters stared at each other for approximately 10 minutes. |
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10 | |
How can lighting affect the meaning of a performance? |
| | A) | It can reveal or obscure information. |
| | B) | Lighting can set a mood. |
| | C) | It can direct our attention to certain aspects of the performance. |
| | D) | It can accentuate the dimensionality of a performer. |
| | E) | All of the above |
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11 | |
The film Schindler's List used all of the following to help convey the meaning of the story EXCEPT |
| | A) | cross-cutting. |
| | B) | extreme close-ups. |
| | C) | cell animation. |
| | D) | use of contrast. |
| | E) | extreme camera angles. |
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12 | |
Which of the following is NOT a common transition used in video, film and TV? |
| | A) | cut |
| | B) | fade |
| | C) | wipe |
| | D) | dissolve |
| | E) | move-by |
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2002 McGraw-Hill Higher Education