Choose the best answer.
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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 the answers are correct. |
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| 2 | |
Sound gives a new value to what? |
| | A) | editing |
| | B) | moving images |
| | C) | silence |
| | D) | noise |
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| 3 | |
Which of the following enable(s) the audience to recognize different characters' voices? |
| | A) | loudness |
| | B) | pitch |
| | C) | timbre |
| | D) | All the answers are correct. |
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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 more difficult for the audience to notice, diegetic or nondiegetic sound? |
| | A) | diegetic |
| | B) | nondiegetic |
| | C) | They are equally difficult 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 simultaneous with the images |
| | D) | either nonsimultaneous sound from earlier in the story than the images |
| | E) | or nonsimultaneous sound from later in the story than the images |
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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 the answers are correct. |
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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 answers are correct. |
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