HUM210 Astone Film Multi-Choice Set 13

D. a very cinematic prose style.

The prose style of Ernest Hemingway, as in the beginning of "The Battler," is held up in the text as an example of A. omniscient narration that had to be altered for film adaptation. B. an expressionistic style that is better suited to the stage. C. a highly literary style that is difficult to adapt to film. D. a very cinematic prose style.

True

True / False: Commercial considerations play an important role in deciding whether or not a novel will be made into a film.

True

True / False: Endings have been drastically altered for the film versions of stage plays, to conform to the expectations of the mass audience or because of censorship restrictions.

True

True / False: Film almost always requires a sense of space or physical movement that is not possible in a stage setting.

True

True / False: Film is limited by its difficulty in summarizing what happens over a long period of time.

True

True / False: Generally, film dialogue is simpler than that used on stage.

A. interior monologue.

Another term for "stream of consciousness" is A. interior monologue. B. third-person omniscient point of view. C. dramatic point of view. D. third-person limited point of view.

False

True / False: Novels are usually written in the present tense, while films create a strong sense of past tense.

False

True / False: Philosophical reflections are among the elements of a novel that are more effectively translated into film.

True

True / False: Some novels are more easily adapted to the screen than others because of their authors' styles.

False

True / False: The Sound of Music screenwriter Ernest Lehman solved the potential claustrophobic effect of the "Do, Re, Mi" scene by moving to an outside classroom setting, open to the sun and sky.

False

True / False: The stage is better equipped to portray physical violence than is film.

A. can be "moved about" through each of the four cinematic viewpoints.

Viewers watching a film A. can be "moved about" through each of the four cinematic viewpoints. B. are bound to a single point of view. C. are unable to experience the sense of physical and emotional closeness that theatergoers enjoy. D. are less likely to witness the presentation of the subjective state of a character.

D. capable of preserving the "narrator's essence."

Voice-over narration is A. a natural cinematic quality. B. required for the dramatic point of view. C. always successful in duplicating novelistic viewpoints. D. capable of preserving the "narrator's essence."

D. dramatic

What is the only novelistic viewpoint that can be directly translated into cinema? A. omniscient narrator B. third-person limited C. first-person D. dramatic

C. ignoring the novel's point of view

What is the usual solution to the difficulties of depicting the thoughts, concepts, or reflections of a character when using the omniscient, third-person limited, and stream-of-consciousness points of view? A. introducing more than one narrator B. changing the point of view to objective C. ignoring the novel's point of view D. filming subjective states to communicate character thoughts

B. creating composite characters who combine into one character the plot or thematic functions of two or more characters from the novel.

When a novel contains too many important characters to develop in sufficient depth in a film, a director may solve this problem by A. changing the point of view of the characters. B. creating composite characters who combine into one character the plot or thematic functions of two or more characters from the novel. C. creating dramatic foils for each of the major characters. D. adding an omniscient narrator.

C. first-person

Which literary point of view has no true cinematic equivalent? A. omniscient narrator B. third-person limited C. first-person D. dramatic

B. acts

A film's sequences roughly correspond to what aspects of stage plays? A. sets B. acts C. scenes D. tableaus

B. an omniscient third-person narrator.

A narrator who is not a character or participant in the story's events, tells the tale, and can read the thoughts of others is A. a limited third-person narrator. B. an omniscient third-person narrator. C. a stream-of-consciousness narrator. D. an objective narrator.

B. more common on stage than in film.

Surrealistic and expressionistic settings are A. more common in film than on stage. B. more common on stage than in film. C. usually duplicated for adaptations of plays to film. D. rendered even more abstractly in film than on stage.

A. create a sense of a past time.

The "Rembrandt effect" in The Taming of the Shrew is used to A. create a sense of a past time. B. express a subjective state. C. create a surrealistic state. D. lend strength to the first-person narration.

C. freeze frame.

The cinematic equivalent of the "tableau" stage technique is called a(n) A. sequence. B. interior monologue. C. freeze frame. D. subjective camera.

C. does not work well in film.

The completely consistent use of the subjective camera A. keeps the viewer external to the action, through the perspective of the director. B. is equivalent to the literary first-person viewpoint. C. does not work well in film. D. is usually accompanied by a third-person limited narration.

D. a successful reproduction of the flavor of a first-person narrator.

The text offers the voice-over narration in To Kill a Mockingbird as an example of A. a successful use of narration as a means of avoiding overuse of flashback. B. an example of extreme stream-of-consciousness narration mixed in with a first-person narration. C. an adaptation in which a first-person narrator was altered to third-person for the film version. D. a successful reproduction of the flavor of a first-person narrator.

D. images and thoughts from within a character's mind without the conscious acts of selectivity, organization, and narration

Which of the following is applicable to stream of consciousness? A. a story participant giving an eyewitness account of the events of the story B. an all-seeing, all-knowing, mind-reading narrator telling the story C. an omniscient narrator, except for the fact that his/her powers of mindreading are limited to one central character D. images and thoughts from within a character's mind without the conscious acts of selectivity, organization, and narration

C. The filmmakers could not single out specific passages of philosophical reflection for voice-over narration because the novel is full of such passages.

Which of the following is true of adapting the novel All the King's Men? A. The filmmakers successfully adapted the novel by having the first-person narrator directly quote many of the book's first-person passages of internal thoughts. B. The filmmakers chose to use omniscient third-person narration to express the philosophical reflections in the book. C. The filmmakers could not single out specific passages of philosophical reflection for voice-over narration because the novel is full of such passages. D. Many of the philosophical passages had to be singled out for voice-over narration, because not all could be presented in the film.

A. Ironically, a loose adaptation may seem a better film to those who are not familiar with the novel than to those who have read and loved it.

Which of the following is true of film adaptations of novels? A. Ironically, a loose adaptation may seem a better film to those who are not familiar with the novel than to those who have read and loved it. B. It is almost always disadvantageous to see a film before reading a book. C. The text suggests that one should read John Berendt's Midnight in the Garden of Good and Evil before seeing the Clint Eastwood film. D. Even when filmmakers assume that very few filmgoers will know the novel, they attempt to stay true to the novel's essence.

D. Generally, the shorter the novel, the better the chances for effective adaptation to the screen.

Which of the following is true of film adaptations of novels? A. The filmmaker's task is made more difficult if he or she assumes that viewers have read the novel being adapted. B. Film versions, when done well, can capture a large fraction of a novel's depth. C. Most short stories have been translated into film with a great deal of expansion of both the main plot and subplots. D. Generally, the shorter the novel, the better the chances for effective adaptation to the screen.

A. The story was changed so much that it became unrecognizable as the novel.

Why was the title of John Irving's novel A Prayer for Owen Meany changed to Simon Birch for the film adaptation? A. The story was changed so much that it became unrecognizable as the novel. B. The filmmakers could not secure legal rights to the book title. C. The studios felt that the original title was not commercially viable. D. The filmmakers wanted to focus the advertising campaign on a different character.