For each of the questions that follow, only one choice accurately completes the statement. In some cases, more than one answer may seem plausible, so carefully consider each option before choosing the response that accurately completes the statement.
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1 | |
The responsibilities of the film editor include not only selecting, ordering, and arranging the various film shots into a coherent rough cut, but also
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| | A) | supervising the leadman, swing gang, greensman, and grips during postproduction.
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| | B) | evaluating the script’s dramatic and commercial potential.
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| | C) | helping ensure that the film’s visual and aural values are consistent throughout the film.
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| | D) | assisting with casting concerns during the preproduction phase.
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2 | |
Though it may be in truth a bit of cinematic folklore, its underlying concept suggests something central to film studies: that a wide range of meanings and nuances can be created from fragments of film juxtaposed in sequence.
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| | A) | Stanislavsky’s “Method.”
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| | B) | the Kuleshov effect.
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| | C) | Eisenstein’s theory of montage.
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| | D) | Hitchcock’s “McGuffin.”
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3 | |
This strategy of shooting and editing limits cinematography to one side of the so-called “axis of action” and helps provide spatial continuity for viewers:
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| | A) | swish panning.
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| | B) | montage editing.
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| | C) | parallel editing.
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| | D) | the 180-degree system.
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4 | |
Which of these types of cuts is not generally regarded as a component of continuity editing?
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| | A) | the jump cut.
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| | B) | the reverse-angle cut.
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| | C) | the match on action.
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| | D) | the eyeline match.
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5 | |
This type of transition, in which the image gradually turns to (or from) black, often signifies a brief temporal ellipsis or break in time:
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| | A) | the fade.
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| | B) | the dissolve.
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| | C) | the jump cut.
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| | D) | the parallel cut.
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6 | |
Another type of transition, in which one image fades in while another disappears, so that both images appear simultaneously at one point, is often used to signal a flashback:
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| | A) | the fade.
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| | B) | the dissolve.
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| | C) | the jump cut.
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| | D) | the parallel cut.
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7 | |
Today the preferred method for melding foreground action with a background scene shot elsewhere is
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| | A) | blue-screen photography.
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| | B) | CGI effects.
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| | C) | matte shot effects.
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| | D) | parallel editing.
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8 | |
Most productions employ one or more of these to create sound simulations (footsteps walking, doors closing, wind rustling, glass breaking, etc.) that approximate the actions onscreen:
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| | A) | script doctors.
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| | B) | gaffers.
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| | C) | grips.
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| | D) | Foley artists.
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9 | |
Many films noir, such as Out of the Past and Double Indemnity, made use of this sound technique for setting a mood and providing a specific character’s interpretation of dramatic events:
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| | A) | looping.
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| | B) | revoicing.
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| | C) | voice-over narration.
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| | D) | ambient sounds.
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10 | |
The musical composer of a film
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| | A) | typically enters the moviemaking process only in the late stages of editing.
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| | B) | usually works with the producer during the preproduction phase.
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| | C) | typically assists the supervising sound editor with effects, volume levels, and other diegetic sounds.
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| | D) | frequently must secure copyright clearance for uses of previously recorded music to be used in the film.
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11 | |
Music understood to be a part of the fictional world of the movie is referred to as belonging to part of the film’s
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| | A) | montage.
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| | B) | mimesis.
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| | C) | stasis.
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| | D) | diegesis.
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12 | |
Among the technicians who work under the eye of the supervising sound editor might be found
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| | A) | a leadman, a swing gang, a greensman, and a grip.
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| | B) | a color timer, sound mixer, and negative cutter.
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| | C) | a script doctor, a talent scout, and a story editor.
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| | D) | makeup and visual effects artists.
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2003 McGraw-Hill Higher Education