HUM210 Astone Film Multi-Choice Set 5

A. vertical lines.

According to standard principles of visual composition, feelings of strength, authority, and dignity are suggested by A. vertical lines. B. diagonal lines. C. curved lines. D. rippling or flowing lines.

True

T/F: A long shot is taken from a distance and shows the subject as well as its surroundings.

True

T/F: An objective shot that shows a character looking at something off screen is called a "look of outward regard."

True

T/F: Cinematic film refers to a film that takes advantage of all the special properties and qualities that make the film medium unique.

True

T/F: In cinematography, a sense of naturalness is more praiseworthy than clever camerawork.

False

T/F: It is becoming more common for modern films to sustain the subjective point of view over the course of a film.

False

T/F: Purely lateral movement in a fixed frame shot enhances the illusion of depth.

True

T/F: The indirect-subjective viewpoint is used primarily to make the viewer feel intensely involved in the action.

False

T/F: Time-lapse photography achieves an extreme form of slow motion.

D. quality of continuous motion.

The first and most essential property of the cinematic film is its A. freedom from the spoken word. B. ability to create an illusion of depth. C. powerful use of color, light, and shadow. D. quality of continuous motion.

C. looking through a window.

The fixed camera frame approximates the effect of A. a direct aerial view. B. a flat horizon shot. C. looking through a window. D. falling from a subjective point of view.

D. a heightened sense of reality through a subjective viewpoint.

The handheld camera is most often used for A. smooth and floating high-angle shots. B. low-angle shots when an approaching object passes directly overhead. C. a steadying effect for close-ups of character confrontations. D. a heightened sense of reality through a subjective viewpoint.

C. 24 frames per second.

The rate at which film runs through a movie camera or projector is A. 15 frames per second. B. 20 frames per second. C. 24 frames per second. D. 28 frames per second.

C. compresses or shortens the distance between objects in the foreground and background.

A telephoto lens A. renders distance between objects as the naked eye sees it. B. exaggerates the distance between objects in the foreground and background. C. compresses or shortens the distance between objects in the foreground and background. D. magnifies objects in the foreground and background without affecting the sense of distance.

D. the zoom lens.

A type of lens that keeps an image in constant focus while appearing to glide toward or away from the subject without any camera movement is called A. foreground framing. B. the Steadicam. C. fixed-frame movement. D. the zoom lens.

D. an area of the screen with no interesting visual information

Dead screen refers to which of the following? A. screen time devoted to nondiegetic elements such as opening credits B. shots involving extreme camera actions that confuse or cause disinterest in the viewer C. shots of the film that do not contain any of the principal characters D. an area of the screen with no interesting visual information

D. approximates the human eye's ability to see a deep range of objects in clear focus

Deep focus A. makes use of reflections to create three-dimensionality. B. frames the subject with an object or objects in the near foreground. C. creates a kind of three-dimensionality by focusing the camera lens, in turn, on objects in different planes of depth. D. approximates the human eye's ability to see a deep range of objects in clear focus.

B. unusual subjective states such as dreams, fantasies, or intoxication

For what is the fish-eye lens often used? A. emotional states of obsession or love B. unusual subjective states such as dreams, fantasies, or intoxication C. underwater shots D. panoramic shots of natural vistas

C. as a welcome attempt to expand the narrow boundaries of feature animation

How did critic Richard Corliss describe the animated film The Prince of Egypt? A. as the first truly successful—both critically and commercially—example of 3D feature animation B. as an example of sad attempts by studios to keep hand-drawn animation relevant C. as a welcome attempt to expand the narrow boundaries of feature animation D. as a failed experiment in making animation with adult themes

B. involves moving the camera's "line of sight" in a horizontal plane, left or right.

Panning A. involves moving the camera's "line of sight" in a vertical plane, up or down. B. involves moving the camera's "line of sight" in a horizontal plane, left or right. C. can often be used to convey certain subjective states, such as shock or confusion. D. is the creation of a sense of three-dimensionality by moving a camera 360 degrees around the subject.

B. films in which the special effects visuals overwhelm the story and characters.

The text offers the films Blade Runner, The Thing, and Bram Stoker's Dracula as examples of A. films that involve transformation sequences with more emphasis on the character than the visuals. B. films in which the special effects visuals overwhelm the story and characters. C. films that use special effects to create complete fantasy worlds. D. suspense and horror films that make extensive use of all the special subjective camera shots and lenses.

A. approximates the vertical movement of an audience member's head and eyes.

Tilting A. approximates the vertical movement of an audience member's head and eyes. B. moves the camera's "line of sight" in a horizontal plane, left or right. C. is intended to give a subjective sense of dizziness or confusion to the audience. D. is used to keep the framed subject from being at the center of the action of a scene.

C. exaggerating his size and dominance

To what effect is the low-angle shot of the British naval officer used at the end of the 1953 film Lord of the Flies? A. surprising the audience with the reveal of his arrival B. infusing his figure with benevolence C. exaggerating his size and dominance D. framing him as the antagonist

C. indication of the subject's love for another character

What is achieved by soft focus in the film Mr. Smith Goes to Washington? A. a dream state B. the conveyance of a state of drunkenness C. indication of the subject's love for another character D. a state of confusion for the characters

B. rack focus.

When the camera lens shifts focus in one continuous shot to objects in different planes of depth one after another, this is called A. zoom lens. B. rack focus. C. foreground framing. D. deep focus.

D. dwarfing of the subject and diminishing its importance

Which of the following takes place in a high-angle shot? A. moving the camera's "line of sight" in a vertical plane, up or down B. the conveyance of certain subjective states, such as shock or confusion C. approximation of the human eye's ability to see a deep range of objects in clear focus D. dwarfing of the subject and diminishing its importance

C. the deep-focus lens

Which one of the following is NOT a special lens designed to provide subjective distortions of objective reality? A. the wide-angle lens B. the telephoto lens C. the deep-focus lens D. the fish-eye lens

C. we are consciously aware that the director wants us to view the action in some unusual way.

With the director's interpretive point of view, A. the audience is moved into the same perspective as the character. B. the shots are made unreal through extreme affectation. C. we are consciously aware that the director wants us to view the action in some unusual way. D. the director is going for a naturalistic "invisible camera" perspective.