D&D CH.2 Q.
Define the concept of a "Feeling-Concern".
A vague, amorphous, internalized belief held by the filmmaker, an internalized belief that demands it be communicated.
"Image-Events" are stored on film and sequenced and hence become the film's _________.
Communication
Most moviegoers consider the cinematic experience to be an isolated one.
False
In Chapter 2, bell hooks refers to a willing suspension of disbelief as just plain submission, where in the darkness of the theatre most audiences choose to give themselves over, if only for a time, to the images depicted and the imaginations that have created those images.
True
In Chapter 2, the author argues that in order for film to be seen as an alternative form of democratic communication, a general understanding of cinema needs to include social and political analyses.
True
In film theory, the event of the moviegoer transcending space so as to enter the world depicted on screen is called Identification Theory.
True
Tahvildaran Jesswein argues in Chapter 2 that the point of connection or identification for a moviegoer is not necessarily grounded in a love of nation or a particular respect for truth and thus a particular set of democratic procedures; rather, the point of connection might be found in a shared sense of doubt; uncertainty or fear; alienation and un-fulfillment.
True
The concept of the "Story-Organism" can best be illustrated when the filmmaker's Feeling-Concern is simplified, organized, and given life so that it can be externalized and communicated on the screen - a written text or screenplay.
True
The author sees the "moviegoer" as a/n _______ to events and experiences that s/he may have not experienced first-hand.
Eyewitness
In Chapter 2, the author argues that film is inextricably entwined with our social and political institutions and should be studied and utilized in the social sciences as a tool to better our understanding of _________.
Society
An incredible and strong and imaginative and emotional transporting of experience as part of a suspension of disbelief best describes __________.
The migration of the self
Stan Vanderbeek's concept of the "Emotion-picture" is best defined as
The motion picture representing a new structure of a nonverbal international picture language that allows for a wider communication among people.
According to some theorists, paintings, movies, television or sculpture cannot be either true or false signs, and therefore they cannot communicate the kind of statement, the meaning of which can be interpreted as true or false. Thus, the strength of film in the study of politics is the expression of experience and the telling of narratives that are or have been excluded from a dominant culture and politics.
True
Andrew Tudor's model of identification includes: _________.
All of the above
The film viewing experience should be understood as a collection of a variety of elements. They are: _________.
All of the above
In chapter 2, the author suggests that two American films have given the Vietnam War its definitive dramatic shape in American pop culture. What are those two films?
Apocalypse Now; Platoon
Film theorist, Sol Worth, presents film as dialogue between those who create films and those who pay for them.
False
Films cannot be both a realistic depiction of the world and a rich and powerful artistic interpretation of reality.
False
The motion picture business is not at all risky financially. As a consequence of this low risk, most film ideas, especially those with challenging subject material, challenging to a dominant societal and cultural hegemon, are usually acted upon and produced.
False
In order to expand the interpretation of film as an artistic political medium and use it as a specific form of communication in order to better understand and critique U.S. Democratic politics, one must study film's ________ and _________ as a social phenomenon.
Form; function
According to the author, film has the power to potentially influence our social perceptions, human sensibilities, and political institutions.
True
As a rich and powerful artistic medium, film can be seen as an artistic interpretation of reality or a powerful and threatening manipulation of reality.
True
Cinema and films are often devalued by the social scientist because of the perception that films are light, somewhat frivolous, value-neutral and socially and politically innocent experiences that allow people to escape from their everyday lives.
True
Identification by some moviegoers with the events, the story, the setting, and the characters portrayed on screen often can effectively serve as recognition of an experience that may have been forgotten, suppressed, or simply not known.
True
If a film is to truly be considered as a vehicle that can transport one's sensibilities from one place to another, from a place where one does not know difference, to one where he or she somewhat does, then it is important that film be framed as a temporary suspension from one's own place or a migration of the self.
True