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How does the baptism scene from The Godfather give the sense that different actions in locations are occurring simultaneously?


A) by the continuity of particular actions, dialogue, and music
B) by the discontinuity of all the scene's disparate elements
C) by the chaotic, uneven cutting of the scene's separate shots
D) by the uncoordinated sound track and visual information
E) by the jarring, unsynchronized occurrences of sacred and profane acts

F) A) and D)
G) B) and E)

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Films that succeed in seeming verisimilar across cultures and generations often


A) fail at the box office.
B) have to carefully consider what will be convincing as truth in the future.
C) need Hollywood resources in order to look plausibly realistic.
D) enjoy the sort of critical and popular success that prompts people to call them timeless.
E) have to be domestic dramas but never science fiction or other sorts of fantasy films.

F) A) and C)
G) A) and B)

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Why is light the essential ingredient in the creation and consumption of motion pictures?


A) Light allows color to be recorded and seen.
B) Light prevents film stock from decaying over time.
C) Movie images are made when a camera lens focuses light onto film stock and when movie theater projectors transmit motion pictures as light.
D) Sound recordings are actually created via the manipulation of light.
E) It isn't; since shadow play, photography, and other moving-image arts use light to create their effects, film is far from unique in employing it.

F) A) and E)
G) A) and D)

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How might a film's lighting influence the audience to feel about a character? Offer an example from the textbook and an example of your own.

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Examples from the textbook: lighting can...

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Donnie Darko uses a simple ABABAB shot/reverse-shot pattern in one driving scene ultimately to achieve what dramatic effect?


A) complacency
B) comedy
C) anger
D) shock
E) grief

F) B) and E)
G) B) and D)

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How is it that movies appear to be moving?


A) by projecting a quick succession of still photographs called frames
B) by projecting light on the screen so that it illuminates every other celluloid frame
C) by using rapid editing patterns
D) by means of two simultaneously working projectors
E) by a strobe effect that tricks the spectator's eyes

F) A) and E)
G) C) and D)

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Why can it be said that realism in movies is a kind of illusion?


A) because there is no such thing as reality
B) because realism ceased to exist as a viable artistic approach decades ago
C) because nothing captured on camera and projected on screen can technically be defined as "real"
D) because no matter how similar to our experience of the world it might appear, realism always entails mediation
E) because the concept of realism has always remained the same throughout the history of the arts

F) None of the above
G) All of the above

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Directors Fernando Meirelles and KΓ‘tia Lund use crosscutting techniques in City of God in what unique way?


A) split screen
B) freeze frame
C) verisimilitude
D) bullet time
E) fast motion

F) A) and B)
G) A) and C)

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The parallel action sequence that alternates between shots of a community talent show and the burning down of a mansion in Donnie Darko compels viewers to perceive what meaningful connections in these apparent contrasts?


A) elation with grief
B) conformity with rebellion
C) pleasure with boredom
D) capitalism with socialism
E) rejection with sacrifice

F) B) and C)
G) A) and B)

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What is a freeze-frame?


A) a static composition
B) a shot featuring no human subject
C) a still image shown on-screen for a period of time
D) a tableaux of actors arranged to depict a famous painting
E) a breaking of the fourth wall

F) B) and E)
G) D) and E)

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Compare Richard Linklater's Boyhood with the baptism scene from The Godfather. Which manipulates time for expressive effect, and which does so more for pragmatic storytelling purposes, and how?

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The Godfather manipulates time for expre...

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In terms of their role in movies, what is the difference between light and lighting?


A) Light is responsible for the image we see on the screen; lighting is responsible for significant effects in each shot or scene.
B) Light is responsible for significant effects in each shot or scene; lighting is responsible for the image we see on the screen.
C) Light is necessary for the production of movies; lighting is useful but not necessary for the production of movies.
D) Light cannot be manipulated for the production of movies; lighting can be manipulated for the production of movies.
E) Light can be manipulated for the production of movies; lighting cannot be manipulated for the production of movies.

F) A) and B)
G) All of the above

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Antirealism is defined as an interest in or concern for


A) the actual or real, with a tendency to view or represent things as they really are.
B) the speculative and fantastic.
C) problems that cannot be solved.
D) naturalistic performances and dialogue.
E) abrasive or aggressive art.

F) A) and D)
G) D) and E)

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Why do cinematic conventions represent a certain agreement between the filmmaker and the audience?


A) because they represent a common, shared cinematic language that can be both used for familiar purposes and reimagined for newer ones
B) because they represent an exclusive cinematic language that is only familiar to the filmmaker, and thus ungraspable by his or her audience
C) because they represent a cinematic language familiar to the filmmaker that can then be communicated to an audience that is ready to learn it
D) because they represent a cinematic language unfamiliar to the filmmaker, who works unconsciously to reach an audience that can then translate his intentions into words
E) because they represent a cinematic language unfamiliar to both filmmaker and audience: the film itself mediates between them

F) B) and E)
G) B) and D)

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Which of the following is NOT an example of cinematic verisimilitude?


A) a horror movie that makes a scary monster into a completely believable screen presence
B) a sci-fi movie that makes a fantastic premise seem entirely plausible within the internal logic of its own story
C) a romantic comedy in which the character's actions conform to what people understand and expect of human behavior
D) an action thriller that is gripping precisely because it could conceivably take place in real life
E) a bizarre, alienating film containing absurd and inconceivable events that prevent its audience from becoming absorbed in any sort of fictional world

F) None of the above
G) B) and E)

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How do patterns and expectations relate to one another?

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We search for patterns in all art forms ...

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Which of the following helped inspire the first motion pictures?


A) the realist impulse of the visual arts
B) the antirealist impulse of the visual arts.
C) the nonrealist impulse of the visual arts
D) the surrealist impulse of the visual arts
E) the corporeal impulse of the visual arts

F) C) and D)
G) C) and E)

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Alfred Hitchcock's term "MacGuffin" refers to


A) a character type repeatedly used throughout his films.
B) a type of viewer who can be easily manipulated through specific storytelling strategies.
C) an object, document, or secret that at first appears to the characters to be vitally important but that turns out to be of no real importance to the overall narrative.
D) the overall narrative.
E) the first turning point of a film.

F) B) and C)
G) A) and B)

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Rather than being separate entities that come together to produce art, form and content are instead


A) two individual elements that can never combine to produce art.
B) two conflicting elements that should always be analyzed distinctly from one another.
C) two interrelated aspects of the entire formal system of a work of art.
D) two different names for the same formal element.
E) two similar elements that perform different functions in different works of art.

F) B) and D)
G) C) and D)

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The formal differences and similarities among various works of art lead to questions about how


A) a single artist approaches a multitude of subjects.
B) all artists approach a multitude of subjects in the same way.
C) all artists should be critiqued according to fixed criteria.
D) form and content have little or nothing to do with one another.
E) the respective forms shape our emotional and intellectual responses to the subject matter.

F) All of the above
G) C) and D)

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