Choose the best answer.
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| 1 | |
Where was the term "mise-en-scene" (meaning "putting into the scene") first used? |
| | A) | black and White Film |
| | B) | talking Pictures |
| | C) | stage Plays |
| | D) | visual Art |
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| 2 | |
Mise-en-scene incorporates which following four elements in capturing the events for the camera? |
| | A) | setting, sound, costume, staging |
| | B) | setting, lighting, sound, staging |
| | C) | setting, lighting, costume, staging |
| | D) | setting, sound, lighting, costume |
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| 3 | |
What is the best way to analyze mise-en-scene's function in a film? |
| | A) | according to perceptions of Realism |
| | B) | according to exaggeration, supernatural, understating and other elements of imagination |
| | C) | according to how it is motivated, how it varies or develops, and how it works in relation to other film techniques |
| | D) | according to its reliance on cinematography, editing, and style |
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| 4 | |
In what ways can the filmmaker control the setting of mise-en-scene? |
| | A) | by selecting an already existing locale (going on location) |
| | B) | by constructing the setting |
| | C) | by controlling color schemes and creating props |
| | D) | All of the answers are correct |
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| 5 | |
Which of the following statements is true? |
| | A) | Costumes and make-up may function to reinforce the film's narrative and to create character traits. |
| | B) | Costumes are separate from props and should not be used as such. |
| | C) | Make-up in film was originally developed in response to the popularity of horror and science-fiction films. |
| | D) | Since the filmmaker usually wants to emphasize the human figures, the costumes provide a neutral background to the settings. |
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| 6 | |
The four major features of film lighting are its quality, direction, source, and color. Which feature refers to the intensity of illumination and the shadows, textures, and edges created? |
| | A) | quality |
| | B) | direction |
| | C) | source |
| | D) | color |
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| 7 | |
The director controls the behavior of various figures in the mise-en-scene to create the movement and acting of the film. These figures are represented by which one of the following? |
| | A) | human figures |
| | B) | humans and living animals |
| | C) | humans, living animals, and objects |
| | D) | humans, living animals, objects, and shapes |
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| 8 | |
Acting is often approached as a question of realism. Why is this a problematic way of thinking? |
| | A) | Concepts of realistic acting have changed over film history. |
| | B) | Not all films try to achieve realism. |
| | C) | The audience is aware that all performances are fabricated regardless of their attempt to be real. |
| | D) | All the answers are correct. |
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| 9 | |
Which of the following is not true in relation to how a filmmaker can direct spectator attention across the two-dimensional space of the frame? |
| | A) | A moving item draws our attention more quickly than a static item does. |
| | B) | Colors that are cool are less prominent than warm colors when both are juxtaposed in an image. |
| | C) | Black-and-white films cannot rely on changes in tonality. |
| | D) | Filmmakers often loosely balance a shot's left and right regions. |
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| 10 | |
In regards to mise-en-scene, looking is purposeful. Complete this sentence: What we look____ is guided by our assumptions and expectations about what to look ____. |
| | A) | for; at |
| | B) | at; for |
| | C) | to; through |
| | D) | through; to |
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| 11 | |
Filmmakers control what they want the audience to focus on by creating changes in which one of the following? |
| | A) | variations in figure size |
| | B) | variations in sound and music |
| | C) | variations in lighting and shadow |
| | D) | All the answers are correct. |
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| 12 | |
By emphasizing movement in a shot, mise-en-scene can control not only what an audience looks at, but also ____ we look at it. |
| | A) | when |
| | B) | why |
| | C) | how |
| | D) | where |
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| 13 | |
In Our Hospitality, mise-en-scene is used to advance the narrative, create a pattern of motifs, and to create which of the following? |
| | A) | gunfights |
| | B) | romantic scenarios |
| | C) | comic gags |
| | D) | moral lessons |
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