For each of the questions that follow, only one choice accurately completes the statement. In some cases, more than one answer may seem plausible, so carefully consider each option before choosing the response that accurately completes the statement.
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1 | |
Although one movie industry analyst allows “almost anyone can potentially negotiate a credit for the title,” this person’s role is most likely to straddle all three phases of the production process:
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| | A) | the director.
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| | B) | the producer.
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| | C) | the script doctor.
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| | D) | the production designer.
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2 | |
At the base of the hierarchy of story development is the person responsible for reading books, plays, and scripts, and then preparing synopses for consideration by the story editor:
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| | A) | the story analyst.
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| | B) | the production designer.
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| | C) | the script doctor.
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| | D) | the talent agent.
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3 | |
The basic design of a movie is usually described initially in the form of a narrative describing the action but containing little or no dialogue, a ten- to thirty-page synopsis reading like a short story in the present tense:
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| | A) | the proposal.
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| | B) | the screenplay.
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| | C) | the shooting script.
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| | D) | the treatment.
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4 | |
Between 90 and 120 pages in length, with each page equivalent to about one minute of screen time, this blueprint for the film includes the basic idea, characterizations, and descriptions of each scene in visual and aural detail:
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| | A) | the proposal.
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| | B) | the screenplay.
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| | C) | the shooting script.
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| | D) | the treatment.
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5 | |
Most screenplays, according to writing guru Syd Field, separate into three distinct acts or divisions, marked from each other by
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| | A) | intermissions.
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| | B) | fades to black that suggest long passages of time.
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| | C) | clear breaks in the action.
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| | D) | major turning points that propel action in a new direction.
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6 | |
A person brought in to revise part or all of a script written by others—such as Robert Towne, who rewrote several of The Godfather’s key scenes to convey a greater sense of humanity and affection between characters—is generally referred to as a
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| | A) | story analyst.
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| | B) | production designer.
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| | C) | script doctor.
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| | D) | talent agent.
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7 | |
Because any one of a number of people—the producer, director, agents, actors, and others—may play a role in modifying a script, and because the number of writing credits per film is limited,
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| | A) | screen credits do not generally reflect the complexities of creating a script.
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| | B) | only two or three people typically contribute to the writing of a film.
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| | C) | the writer or writers’ credit is considered the most highly coveted.
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| | D) | the writer is usually considered the film’s auteur.
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8 | |
The status of the director was greatly elevated after in the 1950s (first in France and later in America) critics contended that certain directors were able to present a personal vision and a visual style; using the French word for “author,”; this theory holds that great directors are the authors of their works as much so as any writer, composer, or painter:
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| | A) | montage theory.
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| | B) | method theory.
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| | C) | auteur theory.
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| | D) | noir theory.
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9 | |
In contemporary films, the responsibility for fashioning the overall look of a movie is usually given to
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| | A) | the art director.
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| | B) | the production designer.
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| | C) | the editor.
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| | D) | the producer.
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10 | |
Concepts of semiotics—such as the signs that trigger codes of meaning based on cultural expectations—are useful to understanding the visible elements of meaning operating within the film frame at any given moment, referred to by film scholars as
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| | A) | mise-en-scène.
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| | B) | signifiers.
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| | C) | rushes.
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| | D) | previews.
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11 | |
Among the members of a production designer’s crew on a contemporary films, one might expect to find
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| | A) | a script doctor, a Foley artist, and a target audience.
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| | B) | a leadman, a swing gang, a greensman, and a grip.
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| | C) | a cinematographer, an editor, and a location scout.
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| | D) | the writer, an agent, and the producer.
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12 | |
One of the director’s most important tasks is to prepare scene-by-scene breakdown of settings, characters, dialogue, and action into specific shots—a document most commonly called
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| | A) | a proposal.
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| | B) | a treatment.
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| | C) | a shooting script.
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| | D) | a storyboard.
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13 | |
When a graphic artist prepares a series of sketches to visualize the look of each scene fragment, with the end result resembling a cartoon strip, the result is called
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| | A) | a proposal.
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| | B) | a treatment.
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| | C) | a shooting script.
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| | D) | a storyboard.
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14 | |
Next to the director, this person—often the director’s confidant and collaborator—is normally the most important person on the set, responsible for lighting, filming, and camerawork:
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| | A) | the D.P. (director of photography, or cinematographer).
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| | B) | the producer.
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| | C) | the editor.
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| | D) | the script supervisor.
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15 | |
To ensure that gaffes or flaws in scenes—such as a half-empty milkshake unintentionally becoming full in a subsequent shot—continuity is entrusted to |
| | A) | the D.P. (director of photography, or cinematographer). |
| | B) | the producer. |
| | C) | the editor. |
| | D) | the script supervisor. |
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2003 McGraw-Hill Higher Education