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1 | |
Why is sound the hardest cinematic technique to study? |
| | A) | Not much is written about it |
| | B) | Audiences are inclined to think of sound simply as accompaniment to the moving images |
| | C) | The sound industry is not very wide-ranging where technique is concerned |
| | D) | All of the above |
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2 | |
Sound gives a new value to ____? |
| | A) | Editing |
| | B) | Moving images |
| | C) | Silence |
| | D) | Noise |
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3 | |
Which of the following enable the audience to recognize different characters' voices? |
| | A) | Loudness |
| | B) | Pitch |
| | C) | Timbre |
| | D) | All of the above |
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4 | |
Which of the following are the types of sound in the cinema? |
| | A) | Loudness, Pitch, Timbre |
| | B) | Speech, Music, Noise |
| | C) | Rhythm, Fidelity, Space |
| | D) | Time, Perspective, Quality |
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5 | |
What is a sound track? |
| | A) | A set of discrete sound units |
| | B) | A compilation of speech, music and sound effects used in the film |
| | C) | An ongoing stream of auditory information |
| | D) | Links of events and time in layers |
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6 | |
Sound relates to visual events that take place in a specific time. This relationship gives sound what? |
| | A) | Rhythm |
| | B) | Fidelity |
| | C) | Spatial dimension |
| | D) | Temporal dimension |
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7 | |
What is fidelity in sound? |
| | A) | The extent to which the sound is faithful to the source as conceived by the audience |
| | B) | The quality of recording |
| | C) | Retaining the original sound made by the actor/noise in the production of the film through the editing process |
| | D) | Refusing to manipulate the sound. Keeping the original quality of the original sound |
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8 | |
In film, which is harder for the audience to notice, diegetic or nondiegetic sound? |
| | A) | Diegetic |
| | B) | Nondiegetic |
| | C) | They are equally hard to notice |
| | D) | Both are very easy to notice |
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9 | |
Sound perspective can be suggested by which of the following? |
| | A) | Time |
| | B) | Space |
| | C) | Volume |
| | D) | Rhythm |
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10 | |
What is simultaneous sound? |
| | A) | The matching of sound with the projected image |
| | B) | Recording the sound at the same moment it is happening in the filming |
| | C) | Music, sound effects (noise), and speech happening at the same time |
| | D) | The matching of sound with the image in terms of story events |
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11 | |
What is a sound bridge? |
| | A) | Nonsimultaneous sound from earlier in the story than the images |
| | B) | Nonsimultaneous sound from later in the story than the images |
| | C) | Sound simulataneous with the images |
| | D) | Either A or B |
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12 | |
What is a sound motif as used in Robert Bresson's A Man Escaped? |
| | A) | Recurring sounds heard each time the protagonist enters the screen |
| | B) | Any sound that reinforces significant moments of the action |
| | C) | Sparse sound mixed effectively to isolate specific sounds for audience attention |
| | D) | Loud sounds that have a distinctive timbre |
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13 | |
Why is sound a powerful film technique? |
| | A) | Because it engages a distinct sense mode |
| | B) | Because it can actively shape how audiences perceive and interpret the screen images |
| | C) | Because it cues audiences to form expectations |
| | D) | All of the above |
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14 | |
If a sound is coming from off-screen, this means that: |
| | A) | The film's narration is more restricted at the moment |
| | B) | The sound is nondiegetic |
| | C) | The source of the sound is in the area just outside of the frame |
| | D) | None of the above |
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