 |
1 | |
Persistence of vision refers to |
| | A) | a filmmaker's desire to have people see a film several times. |
| | B) | people's ability to see motion in rapidly moving pictures. |
| | C) | a montage device in which the same image is repeated over and over for dramatic purposes. |
| | D) | a film camera's ability to record motion. |
|
|
2 | |
Demonstrating that large audiences would sit in a darkened theater to watch movies was an important contribution to the development of motion pictures. It was accomplished by |
| | A) | the Lumiere brothers. |
| | B) | William Dickson. |
| | C) | Edwin S. Porter. |
| | D) | George Melies. |
|
|
3 | |
The first producer to edit, intercut scenes, and use a mobile camera was_____________ in The Great Train Robbery. |
| | A) | D.W. Griffith |
| | B) | William Dickson |
| | C) | Edwin S. Porter |
| | D) | George Melies |
|
|
4 | |
Block booking refers to |
| | A) | modern filmmaking characterized by reduced risk-taking and formulaic stories. |
| | B) | a distributor forcing an exhibitor to take an inferior film in order to secure access to a better one. |
| | C) | a studio producing several films on a single theme. |
| | D) | an exhibitor owning several screens in one geographic area. |
|
|
5 | |
The three component systems of the movie business are |
| | A) | production, direction, and financing. |
| | B) | the studio, the director, and the actors. |
| | C) | pre-production, post-production, and distribution. |
| | D) | production, distribution, and exhibition. |
|
|
6 | |
Major studios |
| | A) | produce the majority of films that appear on U.S. screens. |
| | B) | frequently gamble on innovative films and often take those risks. |
| | C) | finance their own films with their own money. |
| | D) | all of the above |
|
|
7 | |
Independent studios |
| | A) | obtain funding for their productions from a variety of financial sources. |
| | B) | produce the majority of movies that make it to U.S. theater screens. |
| | C) | often take bigger creative risks than can big studios. |
| | D) | all of the above |
|
|
8 | |
Concept films |
| | A) | tend to be far more creative and imaginative than independent films. |
| | B) | can be described in one line and are thus easy to promote and market. |
| | C) | are usually tied to content that has been on television. |
| | D) | all of the above |
|
|
9 | |
Your McDonald's hamburger comes with a toy based on a character from a popular movie. This phenomenon is an example of |
| | A) | a merchandise tie-in. |
| | B) | a controlled purchase. |
| | C) | a product placement. |
| | D) | concept film-making. |
|
|
10 | |
Which of the following is not one of the rules associated with making a Dogme film? |
| | A) | The director must not be credited on the film. |
| | B) | The film must be in color. |
| | C) | The film must be 90 minutes or longer. |
| | D) | Cameras must be handheld. |
|
2002 McGraw-Hill Higher Education