HUM210 Astone Film Multi-Choice Set 12
False
True / False: In evaluating a film as a technical achievement, we are most concerned with what a filmmaker communicates with the film.
True
True / False: In reading a film review, we should consider whether or not the author carefully considered the level of ambition of the film.
False
True / False: The eclectic approach represents one of the narrowest approaches of film analysis.
D. All these answers are correct.
What factor in film-going helps form or influence an opinion toward a movie? A. reviews from professional critics B. studio publicity about the film C. "word of mouth" from people who've already seen it D. All these answers are correct.
C. be constantly changing and growing as we experience new types of films.
Our personal guidelines for analyzing films should A. be based on our own personal experiences. B. be influenced primarily by the films of the period in which we conduct the analysis. C. be constantly changing and growing as we experience new types of films. D. expect the highest of every film, even when they aspire only to entertain.
B. a composite approach that incorporates elements of other approaches.
The eclectic approach to analyzing films is A. the least valid of all the approaches discussed in the text. B. a composite approach that incorporates elements of other approaches. C. best used for films with the ambition to be considered high art. D. most appropriate for films that experiment with narrative structure.
C. want no message in their films.
The emotional or sensual approach is favored by those who A. like for a film to impart a message or teach us something. B. seek to understand a film's relationship to the "monomyth." C. want no message in their films. D. want to discern the underlying meaning behind the images in a film.
D. All these answers are correct.
The feminist approach to film criticism often focuses on A. the way in which films reflect a patriarchal ideology. B. the representation of female characters in films. C. the gender of directors and screenwriters, and how gender might influence the style or approach toward the subject matter of the film. D. All these answers are correct.
D. theme.
The first step in analysis should be to get a fairly clear idea of the film's A. level of ambition. B. subject matter. C. visual style. D. theme.
B. judges a film in terms of how it relates to a body of "formula" films.
The genre approach A. uses applicable aspects of all other approaches, depending on the individual film being examined. B. judges a film in terms of how it relates to a body of "formula" films. C. judges a film in terms of the reality and intensity of its impact on the viewer. D. judges a film in terms of its significance or meaning beyond the context of the film itself.
True
True / False: A genre film is a film based on subjects, themes, or styles that have become familiar because they have been used often.
True
True / False: A goal of the Jungian critic is to analyze the film's characters and their actions in relationship to the monomyth.
True
True / False: A viewer should consider a film's level of ambition when analyzing it.
False
True / False: In the humanistic approach, we focus on the reality and intensity of a film's impact on the viewer.
True
True / False: The Freudian perspective of analysis assumes that a movie is an expression of the filmmaker's psyche.
True
True / False: The eclectic approach to film analysis begins from the assumption that all human beings share a deep psychological bond.
False
True / False: The feminist approach rests on the assumption that art reflects the attitudes of a culture but has little capacity to influence those attitudes.
C. They tend to be inflexible.
What is the basic problem with ground rules for watching, analyzing, interpreting, and evaluating films? A. They tend to change with each reviewer. B. They tend to favor the humanistic and eclectic analytical approaches. C. They tend to be inflexible. D. They tend to have too much influence on the consumer of film reviews.
C. the concept of the multimyth
Which of the following is NOT part of the basic assumptions of Jungian criticism? A. that all human beings share a deep psychological bond B. the existence of shared archetypes C. the concept of the multimyth D. the need of the hero to free himself from the Great Mother
B. humanistic
Critic Vincent Canby describes the difficulty of applying which critical approach to the films of Alfred Hitchcock? A. eclectic B. humanistic C. auteur D. Freudian
B. the film is judged in relation to the director's entire canon.
In auteur analysis, A. the film is considered primarily in terms of narrative structure, then in terms of visual competition. B. the film is judged in relation to the director's entire canon. C. the film is judged through comparison of that director's work to other great directors working in the same genre. D. the focus is given to theme and symbolism.
B. examines films from socioeconomic perspectives.
The Marxist approach A. judges a film based on its applicability to a certain genre. B. examines films from socioeconomic perspectives. C. judges a film in terms of the reality and intensity of its impact on the viewer. D. analyzes a film in terms of its unifying central concerns and the director's intentions.
A. focuses on the performances of major stars or film personalities.
The actor showcase approach A. focuses on the performances of major stars or film personalities. B. focuses on the special skills, style, techniques, and philosophy of the director. C. focuses on how the director uses the potential of the medium to communicate, not on what he or she communicates or why. D. analyzes a film in terms of its unifying central concerns and the director's intentions.
D. "film as an emotional or sensual experience" approach.
The approach to film that shows a strong anti-intellectual bias is the A. humanistic approach. B. "film as technical achievement" approach. C. "film as conventionalized form" approach. D. "film as an emotional or sensual experience" approach.
B. focuses on the special skills, style, techniques, and philosophy of the director.
The auteur approach A. focuses on the performances of major stars or film personalities. B. focuses on the special skills, style, techniques, and philosophy of the director. C. focuses on how the director uses the potential of the medium to communicate, not on what he or she communicates or why. D. analyzes a film in terms of its unifying central concerns and the director's intentions.
D. judges a film in terms of its significance or meaning beyond the context of the film itself.
The humanistic approach A. is the broadest of the approaches; it considers the intentions of the director and analyzes the film based on those intentions. B. includes the feminist or Marxist approaches within its realm of analysis. C. seeks to compare the attributes of a film to the other films of a director's cannon. D. judges a film in terms of its significance or meaning beyond the context of the film itself.
C. bring about a better understanding or a keener appreciation of a film.
The key function of a reviewer is to A. provide a context in which to judge the film. B. challenge the quality of the work, so as to elevate the filmmaker to greater talent. C. bring about a better understanding or a keener appreciation of a film. D. analyze a film and assess its artistic value.
D. They tend to reinforce the values and myths sacred to the mass audience for which they were made.
Which of the following is true of genre films? A. They are made for very limited, discriminating audiences who value different kinds of complex experiences when going to the movies. B. They are often testing grounds for experimental techniques by adventurous directors, and thus are rarely commercially successful. C. They rarely provide enough variations to satisfy our demand for novelty. D. They tend to reinforce the values and myths sacred to the mass audience for which they were made.
A. Given the film's level of ambition, how well does the film succeed in what it tries to do?
Which of the following would be the overall question to consider in an objective analysis of a film? A. Given the film's level of ambition, how well does the film succeed in what it tries to do? B. Which elements or parts make the strongest contribution to the theme, and why? C. How do all the separate elements of the film relate to and contribute to the theme, central purpose, or total effect? D. What is the true subject of the film?