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1 | |
A cinematic film |
| | A) | is best shot in color. |
| | B) | is best when filmed in black and white. |
| | C) | has clear, crisp visual and aural rhythms. |
| | D) | is one which is successful at the box-office. |
| | E) | is one that uses a fine grained film stock. |
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2 | |
A cinematic film |
| | A) | achieves rhythm primarily by moving characters in and out of a scene. |
| | B) | must be careful to avoid motion as much as possible. |
| | C) | is concerned with creating an illusion of depth. |
| | D) | tries to present itself as a flat surface. |
| | E) | avoids the use of sound whenever possible. |
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3 | |
The objective point of view |
| | A) | attempts to involve the viewer in the emotions and inner thoughts of the characters. |
| | B) | by being objectionable is seeking to earn an R rating. |
| | C) | tends to employ a static camera. |
| | D) | calls attention to extensive camera movements. |
| | E) | calls for the camera to focus more on objects than on humans. |
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4 | |
When the cinematic point of view is subjective |
| | A) | we are able to quickly identify the subject or theme of the film. |
| | B) | the experience becomes more intense and more immediate. |
| | C) | the camera is largely static. |
| | D) | we have the screenwriter's, as opposed to the director's, point of view. |
| | E) | it is as if we were looking through a window at the action. |
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5 | |
One common visual concept is that curved lines |
| | A) | warn the viewer something unpleasant is about to happen. |
| | B) | can give a viewing audience a headache if overused. |
| | C) | suggest a problem with the camera's lenses. |
| | D) | work best in a widescreen film. |
| | E) | evoke feelings of exaltation, euphoria, and joy. |
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6 | |
Sharpness of focus |
| | A) | is the mark of a gifted cinematographer. |
| | B) | distracts an audience from the object focused upon. |
| | C) | draws the audience's attention to the object focused upon. |
| | D) | is characteristic of a new, untested director. |
| | E) | is accompanied by a crispness of sound. |
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7 | |
High contrast areas and bright colors |
| | A) | are required for suggesting the season of Spring. |
| | B) | distract moviegoers from the central action. |
| | C) | should not be used together in the same film. |
| | D) | are only used in light comedy. |
| | E) | can be used to focus the audience's attention. |
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8 | |
Moving the camera's line of sight in a horizontal plane, left to right, is |
| | A) | more a European than an American technique. |
| | B) | disorienting since we view films from right to left. |
| | C) | called "panning." |
| | D) | a way of testing the camera for wide-screen filming. |
| | E) | called "tilting." |
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9 | |
Two modern developments have greatly increased the potential of the mobile camera: |
| | A) | the Anamorphic lens |
| | B) | the Steadicam |
| | C) | the Animalcam |
| | D) | the Skycam |
| | E) | b and d |
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10 | |
Large, blank areas of screen |
| | A) | are used to relax an audience after an action sequence. |
| | B) | are a cue that the director will soon insert a striking image in that space. |
| | C) | are known as "live screen." |
| | D) | are used to misdirect an audience's attention. |
| | E) | are known as "dead screen." |
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11 | |
Deep focus |
| | A) | allows focusing simultaneously, with equal clarity, on objects anywhere from two feet to several hundred feet away. |
| | B) | is focus that is held for several minutes as a means of deeply involving the audience with a particular actor or action. |
| | C) | is used primarily for underwater shots. |
| | D) | takes the camera into a tunnel or excavation until it reaches the bottom. |
| | E) | is another way of describing careful thought about the precise use of focus in a film. |
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12 | |
A high camera angle used with slow, fluid camera movement |
| | A) | is a technique associated with filming Westerns. |
| | B) | gives the audience a sense of being remote, external, detached spectators. |
| | C) | is too costly to use except in films with extraordinarily high budgets. |
| | D) | gives an audience the illusion that they have become the character or characters. |
| | E) | suggests the passage of long periods of time. |
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13 | |
The Rembrandt effect refers to |
| | A) | critics who think that films can never be considered true art. |
| | B) | films that are filmed entirely at night. |
| | C) | films that have a Dutch motif. |
| | D) | extensive use of foreground framing of characters and events in a film. |
| | E) | films that have been filmed with filters that give the film a mellow, aged quality. |
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14 | |
Slow motion can be used |
| | A) | to stretch the moment to intensify its emotional quality. |
| | B) | to suggest superhuman speed and power. |
| | C) | to emphasize the grace of physical action. |
| | D) | to suggest the passage of time. |
| | E) | all of the above |
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15 | |
A freeze frame is often used |
| | A) | to suggest a cold environment. |
| | B) | to give the film the appearance of an old-fashioned silent film. |
| | C) | to end a film. |
| | D) | because the director needs to lengthen the film's running time. |
| | E) | because the cinematographer wants the audience to appreciate a particularly good shot. |
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