Film, Chapter 6

6. A temporal ellipsis in editing A. repeats an action to extend time. B. shows parallel actions to repeat time. C. eliminates part of the action to condense time. D. creates a smooth match on action to eliminate time.

C. eliminates part of the action to condense time.

4. Lev Kuleshov's discovery, termed the "Kuleshov effect," suggests that A. regular graphic matching always enhances the narrative clarity of a scene. B. the spectator's center of attention should be kept in the middle of the screen from one shot to the next. C. even if no establishing shot is shown, spectators will still assume that objects in separate shots are near one another. D. spectators tend not to notice editing if matches on action and shot/reverse shots are consistently used.

C. even if no establishing shot is shown, spectators will still assume that objects in separate shots are near one another.

45. A POV shot is optically identical to an eyeline match.

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46. POV editing in Rear Window violates the 180-degree rule.

false

26. A battle scene will typically utilize what editing pattern to show what the opposing groups are doing at any given moment? A. Crosscutting B. Shot/reverse shot C. Graphic matches D. Eyeline matches

A. Crosscutting

5. Crosscutting is an editing technique that A. alternates between simultaneous shots in two separate spaces. B. moves back and forth across the axis of action. C. introduces flashbacks by direct cuts rather than dissolves or fade-outs. D. alternates long-shot views with extreme close-ups.

A. alternates between simultaneous shots in two separate spaces.

23. A match on action A. carries a single movement across two or more shots. B. smoothes the transition across a jump cut. C. provides a way of avoiding the 180-degree rule. D. allows for cheat cuts without violating continuity.

A. carries a single movement across two or more shots.

16. In the continuity system, a montage sequence usually A. compresses a lengthy series of actions into a few moments. B. generates suspense during a last-minute rescue situation. C. serves as a brief epilogue to the main narrative. D. uses eyeline matching to guarantee clear spatial relations among shots.

A. compresses a lengthy series of actions into a few moments.

13. The 180-degree system is designed to A. ensure consistent screen direction across cuts. B. create smooth, unnoticeable matches on action across elliptical cuts. C. allow the camera to cut from action in one location to action elsewhere. D. avoid cutting in the middle of a camera movement to a static framing.

A. ensure consistent screen direction across cuts.

2. Which of the following is NOT a type of transition from one shot to another? A. A dissolve B. A glide C. A wipe D. A fade

B. A glide

19. Which of the following is NOT characteristic of the editing in Sergei Eisenstein's October? A. Graphic discontinuities B. Establishing shots C. Crosscutting D. Unclear temporal relations

B. Establishing shots

7. What change in continuity editing has occurred to adapt to the increased number of shots used in films since 1960? A. Increased use of establishing shots B. More frequent motion of the camera C. Less use of telephoto lenses D. More distant views of characters

B. More frequent motion of the camera

17. Precise graphic matching in a narrative context is typical of the films of A. Stan Brakhage. B. Yasujiro Ozu. C. Andy Warhol. D. Bruce Conner.

B. Yasujiro Ozu.

12. The axis of action is A. an imaginary vertical line down the center of the screen around which the characters are clustered to preserve a graphic circle. B. an imaginary 180-degree line between the main characters that determines where the camera should be placed to preserve continuity. C. an imaginary 30-degrees line between the main character and the camera that determines where the camera should be placed for close-ups. D. a chalk line marked on the floor to show how far away from the camera the actor should be.

B. an imaginary 180-degree line between the main characters that determines where the camera should be placed to preserve continuity.

3. In the scene of the gas-station explosion in The Birds, the editing employs A. strong graphic matching. B. conflicting graphic qualities. C. brief dissolves to create a montage sequence. D. systematic crossing of the axis of action.

B. conflicting graphic qualities.

21. Digital intra-frame editing allows filmmakers to alter space by A. intercutting two unrelated images to imply a compression of time as well as space. B. layering parts of different shots into a single shot. C. splicing together multiple frames and using traveling mattes to produce a fast-forward effect. D. utilizing mismatched shots in a conversation sequence to hide their flaws.

B. layering parts of different shots into a single shot.

25. Contemporary filmmaking differs from that of classical Hollywood in all the following ways except A. more frequent use of close-ups. B. less crosscutting. C. fewer establishing shots. D. increased use of telephoto lens.

B. less crosscutting.

15. Crosscutting typically A. provides a greater degree of continuity than a shot/reverse shot does. B. provides more knowledge of narrative events than other types of editing. C. provides less knowledge of narrative events than other types of editing. D. demands a great deal of matching on action for events to be clear.

B. provides more knowledge of narrative events than other types of editing.

27. Which of the following is NOT used to produce an elliptical transition? A. Fade-out B. Montage sequence C. Dolly shot D. Cut

C. Dolly shot

22. Kuleshov typically utilized what editing technique to create a sense of spatial proximity between shots? A. Shot/reverse shot B. Crosscutting C. Eyeline match D. Reframing

C. Eyeline match

20. In Citizen Kane, Orson Welles utilizes what kind of transition between the deathbed sequence and the "News on the March" sequence? A. Fade-in B. POV shot C. Graphic mismatch D. Match on action

C. Graphic mismatch

10. Which of the following is NOT a characteristic of the 180-degree system? A. It keeps part of the background consistent from shot to shot. B. It ensures constant screen direction from shot to shot. C. It ensures a temporal overlap from shot to shot. D. It avoids crossing the axis of action.

C. It ensures a temporal overlap from shot to shot.

8. The technique of overlapping editing consists of A. cutting away to action happening elsewhere. B. expanding the scene by showing more than one view of the same action. C. placing a small portion of one strip of film over another in order to make a splice. D. making scene changes so rapidly that the audience cannot see what is happening in the individual shots.

C. placing a small portion of one strip of film over another in order to make a splice.

24. In Rear Window, POV editing A. provides the viewer with omniscient access to the murder. B. confuses the viewer concerning the actual location of Jeff. C. restricts the viewer to Jeff's range of knowledge. D. introduces unrestricted access to all of the occurrences in Thorwald's apartment.

C. restricts the viewer to Jeff's range of knowledge.

1. An ordinary modern Hollywood film typically contains about A. 100 to 200 shots. B. 5,000 to 10,000 shots. C. 40,000 to 50,000 shots. D. 1,000 to 3,000 shots.

D. 1,000 to 3,000 shots.

18. Which of the following is NOT a significant alternative to the techniques of the continuity system? A. 360-degree space B. Nondiegetic inserts C. Jump cuts D. Cheat cuts

D. Cheat cuts

11. The opening scene of The Maltese Falcon showing the office of detective Sam Space contains examples of what type of editing? A. Crosscutting between Sam's office and the bridger B. Montage sequence of Effie's childhood C. Rhythmic cutting between the office window and Effie's entrance D. Shot/reverse shot during the conversation between Effie and Sam

D. Shot/reverse shot during the conversation between Effie and Sam

14. A cheat cut involves A. crossing the axis of action by 30 degrees and then matching on action to guide the eye. B. "cutting" the film in the camera so that actual splices are not needed. C. splicing together two shots taken from the same framing but with an ellipsis. D. a slight mismatch in the positions of mise-en-scene elements.

D. a slight mismatch in the positions of mise-en-scene elements.

9. Continuity editing is a system for A. rapidly editing on video as the film is being shot. B. creating a regular rhythm for a scene. C. making shots progressively more rapid during a scene. D. for keeping the spatial and temporal relations of a scene clear.

D. for keeping the spatial and temporal relations of a scene clear.

42. Graphic qualities are rarely considered in traditional continuity editing.

false

28. Films that use a great deal of editing are more "cinematic" than those that rely mostly on long takes.

false

30. In order to create a smooth flow of narrative information, Hollywood films use detailed graphic matches for almost all cuts.

false

32. An establishing shot is a close view that reveals a significant detail in the scene.

false

33. Most films made since 1995 indicate the passage of time through fades and dissolves instead of direct cuts.

false

35. The term shot/reverse shot refers to cutting back and forth across the axis of action.

false

36. A match on action is a common method of breaking the axis of action.

false

40. In the sequence at the gas station in The Birds, Hitchcock utilizes a long and slow camera movement to reframe the complex action.

false

43. Elliptical editing expands story time.

false

29. Film editing may be thought of as the coordination or connection of one shot with the next.

true

31. In editing, rhythm depends on the patterning of shot lengths.

true

34. A scene's axis of action shifts as the characters move around the set.

true

37. Most shot/reverse-shot cuts utilize the eyeline match.

true

38. Flashbacks are the most common departure from a 1-2-3 temporal order in Hollywood continuity films.

true

39. Overlapping editing expands story duration.

true

41. Editing is the most effective technique for controlling a viewer's attention.

true

44. A shot can be as short as a single frame.

true

47. The "intensified continuity" that characterizes contemporary filmmaking is well adapted for viewing on small screens such as those found on laptop computers and smartphones.

true

48. A match on action is so powerful that it can create spatial and temporal continuity across the cut.

true