Chapter 4

16. Frontal lighting has a tendency to A. create shadows. B. distort images. C. eliminate shadows. D. sculpt a character's features.

C. eliminate shadows.

27. Which of the following is NOT a term used to describe how far away from the camera a plane is? A. Near ground B. Foreground C. Background D. Middle ground

A. Near ground

23. Which of the following is NOT a way in which a film suggests volume in a space? A. Planes B. Shape C. Shading D. Movement

A. Planes

5. Which of the following is NOT a type of lighting in the three-point lighting system? A. Rack light B. Backlight C. Key light D. Fill light

A. Rack light

9. Georges Méliès was A. an early director of fantasy films and master of mise-en-scene. B. an important French set designer of the 1930s. C. the director of Our Hospitality. D. the first historian to study mise-en-scene in the cinema.

A. an early director of fantasy films and master of mise-en-scene.

15. A "prop" is an object in the setting that A. has a function in the action of the film. B. helps the actors remember their lines. C. supports large pieces of scenery. D. serves as a filler to make a set look complete.

A. has a function in the action of the film.

19. In a film, when actors engage in conversation, they usually A. look directly at each other and seldom blink. B. glance away often as they gather their thoughts. C. blink frequently to show that they are interested in the conversation. D. focus their gaze directly at the camera.

A. look directly at each other and seldom blink.

11. Aerial perspective suggests depth by A. making more distant planes seem hazier than closer ones. B. creating a high angle that makes parallel lines meet at the horizon. C. composing a shot that makes the sky dominate the image. D. filming from directly above a character or a setting.

A. making more distant planes seem hazier than closer ones.

3. The system of lighting widely used in classical Hollywood filmmaking is known as A. three-point lighting. B. five-point lighting. C. cast-shadow lighting. D. omnidirectional lighting.

A. three-point lighting.

1. Which of the following is NOT considered part of a shot's mise-en-scene? A. The actors' movements B. The camera's angle on the action C. Objects visible in the distance D. The shadows

B. The camera's angle on the action

7. "Frontality" of staging means that A. a character is placed in the extreme foreground of the shot. B. a character is facing toward the camera. C. one character blocks spectators' views of another character. D. a character is moving toward the foreground.

B. a character is facing toward the camera.

29. When a filmmaker employs a limited palette, he or she uses A. a simple setting with few props. B. only a few colors in the same range. C. a small cast of actors. D. only one or two camera angles.

B. only a few colors in the same range.

25. In shallow-space composition, the closest and most distant planes appear A. blurred. B. only slightly separated. C. significantly separated. D. indistinguishable.

B. only slightly separated.

17. The aspect of lighting that refers to the relative intensity of illumination is called A. density. B. quality. C. direction. D. color.

B. quality.

6. According to Film Art, a film actor's performance style is most affected by A. the microphone placement. B. the camera distance. C. the aspect ratio. D. the lighting.

B. the camera distance.

21. "Performance capture" focuses on filming A. the whole body. B. the face. C. background images. D. unexpected events.

B. the face.

13. Film scholars use the term mise-en-scene to describe the director's control over A. where the film will be shot. B. what appears in the film frame. C. what actors will appear in the film. D. how long shooting will last.

B. what appears in the film frame.

26. Which statement about film acting is TRUE? A. Unlike stage actors, film actors must usually overplay their roles. B. Film actors typically act in a more restrained manner than stage actors. C. Film actors must adjust their movements based on camera distance. D. Film actors are less concerned with facial expressions than stage actors.

C. Film actors must adjust their movements based on camera distance.

4. Which of the following is NOT a term for a type of directional lighting? A. Top lighting B. Underlighting C. Overlighting D. Backlighting

C. Overlighting

22. The easiest way for a filmmaker to achieve compositional balance is to A. focus on figures on the right or the left. B. make the shot as wide as possible. C. center the frame on the human body. D. counterweight two or more elements.

C. center the frame on the human body.

12. Size diminution suggests depth by A. making parallel lines seem to intersect. B. creating false perspective by placing taller characters closer to the camera and shorter characters farther off. C. implying that the elements which are smaller in the shot tend to be farther away. D. reducing the cues for perspective so that the space appears relatively shallow.

C. implying that the elements which are smaller in the shot tend to be farther away.

30. The term key light refers to A. subdued lighting. B. background lighting. C. the primary light source. D. a natural light source.

C. the primary light source.

20. In classical Hollywood, an actor who was typecast A. played roles in office settings, showcasing fast typing skills. B. was directed to avoid portraying a specific stereotype. C. was directed to conform to audiences' expectations. D. usually represented a social class or historical movement.

C. was directed to conform to audiences' expectations.

8. Which of the following is NOT a motif in the mise-en-scene in Buster Keaton's Our Hospitality? A. A sampler embroidered "Love Thy Neighbor" B. A fish-on-a-line motif C. A gun rack D. A dog-on-a-leash motif

D. A dog-on-a-leash motif

2. A major example of a nonrealistic and expressionistic set design is A. Greed. B. Intolerance. C. The Spider's Stratagem. D. The Cabinet of Dr. Caligari.

D. The Cabinet of Dr. Caligari.

18. When filmmakers choose to control lighting, they typically use A. different colors of lighting. B. a soft, yellow, incandescent light. C. natural sources of lighting. D. a light that is as purely white as possible.

D. a light that is as purely white as possible.

10. Stop-action involves A. having actors stand in the same spot where they were at the end of one shot while the lighting is adjusted for the next shot. B. halting the filming in one set and moving on to another while shooting out of continuity. C. one actor in a scene refraining from any obvious movement after delivering a line so as not to call attention away from the actor who is responding. D. animating an object by changing its position between each frame shot.

D. animating an object by changing its position between each frame shot.

28. Movement is an important depth cue because it suggests A. size diminution. B. balance of composition. C. aerial perspective. D. both volumes and planes.

D. both volumes and planes.

14. In a film, a "highlight" refers to A. a significant scene that may become part of a movie trailer. B. acting that exceeds the director's expectations. C. the climax of the story developed in the film. D. lighting that produces a patch of brightness on a surface.

D. lighting that produces a patch of brightness on a surface.

24. Depth cues that create the illusion of depth requiring input from only one eye are A. monochromatic. B. monotone. C. monolithic. D. monocular.

D. monocular.

31. The two most basic types of light in a scene are the key and the rim.

False

34. Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.

False

36. Films shot in the studio have mise-en-scene, whereas films made entirely on location do not.

False

37. "Fill" light is used to create deep shadows.

False

39. In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera is placed.

False

41. Soft, high-key lighting is associated with mystery stories, crime films, and filmsnoir.

False

42. According to Film Art, realism is the most useful standard for evaluating actors' performances.

False

43. Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions

False

44. German Expressionist films, such as The Cabinet of Dr. Caligari, are characterized by realistic mise-en-scene and subtle, psychologically based acting.

False

46. When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.

False

47. Most of the gags in Our Hospitality depend on shallow-space compositions.

False

48. Setting plays a less significant role in the cinema than it does in the theater.

False

32. Georges Méliès's "Star-Film" studio was designed to give him control over every aspect of mise-en-scene.

True

33. Animated films, like live-action films, have mise-en-scene.

True

35. Marlon Brando's performance in On the Waterfront was considered a major example of realistic acting in its day.

True

38. "Edge" lighting is a type of backlighting used to make characters stand out against a background.

True

40. "High-key" lighting is typical of Hollywood filmmaking.

True

45. "Warm" colors tend to attract the spectator's eye more than "cool" colors.

True

49. "Hard" lighting reveals well-defined shadows and crisp textures.

True