Film Art An Introduction 12Th Edition By David Bordwell- Test Bank

Film Art An Introduction 12Th Edition By David Bordwell- Test Bank

 

Instant Download – Complete Test Bank With Answers

 

 

Sample Questions Are Posted Below

 

Film Art: An Introduction, 12e (Bordwell)

Chapter 5   The Shot: Cinematography

 

1) Technicolor was notable for

1. A) its soft, warm pastels.
2. B) its ease of use during shooting.
3. C) its sharp, saturated hues.
4. D) its need for less light than earlier color processes.

 

Answer:  C

Topic:  tonalities: contrast

Learning Objective:  Define contrast.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

2) Tinting and toning are

1. A) printing techniques used to correct flaws in an image’s color.
2. B) makeup used to adjust skin tones to suit the color balance of the film stock.
3. C) methods of using filters to change the color of the light on the set.
4. D) methods for using dyes used to add color to black-and-white film.

 

Answer:  D

Topic:  changing tonalities

Learning Objective:  Recall how tonalities are changed after filming.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

3) The projection speed for sound films was first standardized at

1. A) 24 frames per second.
2. B) 50 feet per minute.
3. C) 36 frames per second.
4. D) 30 minutes per reel.

 

Answer:  A

Topic:  speed of motion

Learning Objective:  List the factors that determine the speed of motion presented onscreen.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

 

 

4) Which of the following is NOT affected by the focal length of the camera lens?

1. A) magnification
2. B) depth
3. C) scale
4. D) aspect ratio

 

Answer:  D

Topic:  framing: aspect ratios

Learning Objective:  Define aspect ratio.

Bloom’s:  Understand; Analyze

Accessibility:  Keyboard Navigation

 

5) A zoom lens is a

1. A) lens with an extremely long focal length.
2. B) lens that can change focal length while a shot is being filmed.
3. C) lens with a special mount that can be changed quickly between shots.
4. D) short lens used for rapid camera movements.

 

Answer:  B

Topic:  the lens: focal length

Learning Objective:  Describe a zoom lens.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

6) “Depth of field” refers to

1. A) the distance the actors have to be from the camera to prevent their heads from going out of the frame.
2. B) the distance from the camera to the back wall of the set.
3. C) the range of distances from the lens in which objects filmed will be in focus.
4. D) how large objects appear within the frame.

 

Answer:  C

Topic:  the lens: depth of field and focus

Learning Objective:  Define depth of field.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

 

 

7) Deep-focus cinematography was popularized in 1940s in part by

1. A) Gone with the Wind.
2. B) The Crime of M. Lange.
3. C) The Wizard of Oz.
4. D) Citizen Kane.

 

Answer:  D

Topic:  the lens: depth of field and focus

Learning Objective:  Define deep focus.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

8) Which of the following statements is NOT true concerning Peter Jackson’s use of computer-generated imagery in The Lord of the Rings trilogy?

1. A) It was used to create portions of the mise-en-scene.
2. B) It was used to create characters with individual artificial intelligence.
3. C) It was used to create digital stunt doubles for actors.
4. D) It was used mainly to create vast crowds of soldiers.

 

Answer:  D

Topic:  special effects

Learning Objective:  Explain how special effects function.; Explain the use of computer-generated imagery.

Bloom’s:  Understand; Analyze

Accessibility:  Keyboard Navigation

 

9) “Contrast” refers to

1. A) the difference between the darkest and lightest parts of a frame.
2. B) the darkest part of a frame.
3. C) a mixture of black-and-white frames and color frames.
4. D) the use of color to emphasize images in a frame.

 

Answer:  A

Topic:  tonalities: contrast

Learning Objective:  Define contrast.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

 

 

10) Which of the following is NOT a type of composite filming?

1. A) matte
2. B) rear projection
3. C) racking
4. D) front projection

 

Answer:  C

Topic:  framing: masks and multiple images

Learning Objective:  Define matte work.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

11) Slices of glass or gelatin placed in front of the lens of a camera to prevent certain frequencies of light from reaching the film are called

1. A) toners.
2. B) blockers.
3. C) exposures.
4. D) filters.

 

Answer:  D

Topic:  special effects

Learning Objective:  Explain how special effects function.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

12) Which of the following describes a type of widescreen image?

1. A) hard matte
2. B) composite image
3. C) full-frame
4. D) academy ratio

 

Answer:  A

Topic:  framing: masks and multiple images

Learning Objective:  Define matte work.; Explain methods of creating a widescreen image.

Bloom’s:  Understand; Analyze

Accessibility:  Keyboard Navigation

 

 

 

13) An anamorphic process

1. A) has a built-in filter that permits “day-for-night” shooting.
2. B) is used to squeeze a widescreen image onto a strip of film.
3. C) is specifically designed for use on a Steadicam.
4. D) gives greater depth of field than any other type of lens.

 

Answer:  B

Topic:  framing: aspect ratios

Learning Objective:  Explain methods of creating a widescreen image.

Bloom’s:  Understand; Analyze

Accessibility:  Keyboard Navigation

 

14) In cinematography, “mask” refers to

1. A) a technique used to change the shape of the frame.
2. B) a filter placed over the lens to change the color of the scene.
3. C) the case placed around the camera to muffle its noise for sound filming.
4. D) shades used to keep sunlight from creating lens flares.

 

Answer:  A

Topic:  framing: masks and multiple images

Learning Objective:  Define masks.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

15) In a canted camera position, objects on the screen appear

1. A) upside down.
2. B) not to be level.
3. C) as seen from directly above.
4. D) as seen at ground level.

 

Answer:  B

Topic:  framing: camera position

Learning Objective:  Recall angle in framing and image.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

 

 

16) Terms for camera distance, such as “medium shot,” are based on

1. A) the actual distance of the characters from the camera.
2. B) the focal length of the lens being used.
3. C) the size of the figures relative to the frame.
4. D) how high the actors’ heads are in the frame.

 

Answer:  C

Topic:  framing: camera position

Learning Objective:  Describe distance in framing an image.

Bloom’s:  Understand; Analyze

Accessibility:  Keyboard Navigation

 

17) Which of the following is NOT a standard term for a type of mobile framing?

1. A) tilt
2. B) crane
3. C) pan
4. D) glide

 

Answer:  D

Topic:  mobile frame

Learning Objective:  Identify types of mobile framing.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

18) “Reframing” refers to

1. A) taking one lens off the camera and putting on another with a different focal length.
2. B) moving the camera forward after the master shot has been filmed, in order to get closer views.
3. C) making short pans or tilts to keep the composition balanced.
4. D) inserting hard mattes into the camera to achieve widescreen aspect ratios.

 

Answer:  C

Topic:  mobile frame

Learning Objective:  Explain the functions of frame mobility.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

 

 

19) A central characteristic of the cinematography in Jean Renoir’s Grand Illusion is

1. A) long takes with a nearly static camera and complex staging in depth.
2. B) frequent tracking shots that emphasize significant details in the mise-en-scene.
3. C) innovative use of the zoom shot in almost every scene.
4. D) almost constant craning shots.

 

Answer:  B

Topic:  mobile frame

Learning Objective:  Analyze mobile framing and film form.; Explain the functions of frame mobility.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

20) The form of Michael Snow’s Wavelength is structured around which type of mobile framing?

1. A) slow tracking shots through an abandoned loft
2. B) rhythmic panning to catch the reactions of a crowd
3. C) a series of slow craning shots on a beach
4. D) an irregular series of zoom-ins across a room

 

Answer:  D

Topic:  the lens: focal length; mobile frame

Learning Objective:  Describe a zoom lens.; Explain the functions of frame mobility.; Describe the relationship between mobile framing and space.

Bloom’s:  Remember; Analyze

Accessibility:  Keyboard Navigation

 

21) Which group of filmmakers is typically associated with the long take?

1. A) Orson Welles, Kenji Mizoguchi, Andy Warhol, and Gus van Sant
2. B) Howard Hawks, Buster Keaton, Robert Bresson, and Louis Lumière
3. C) Georges Méliès, Akira Kurosawa, Abel Gance, and Sergei Eisenstein
4. D) Erich von Stroheim, Samuel Fuller, Alain Resnais, and Richard Lester

 

Answer:  A

Topic:  duration of the image

Learning Objective:  Explain the functions of the long take.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

22) The speed of motion presented on-screen depends on

1. A) the number of frames per second of celluloid used.
2. B) the rate of projection alone.
3. C) the rate of shooting and the rate of projection.
4. D) frame size and shape.

 

Answer:  C

Topic:  speed of motion

Learning Objective:  Describe how speed of movement can be altered after filming.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

23) A digital colorist adjusting an image’s tonality in postproduction has the ability to

1. A) use a color timer or grader to change a print’s color range.
2. B) adjust color in specific parts of the frame and maintain that adjustment.
3. C) hand color certain parts of a shot.
4. D) dip the developed film into a bath of dye to change the color.

 

Answer:  B

Topic:  changing tonalities

Learning Objective:  Recall how tonalities are changed after filming.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

24) A moving circular mask that opens to reveal a scene or that closes to conceal a scene is called

1. A) an eye mask.
2. B) a lens.
3. C) a filter.
4. D) an iris.

 

Answer:  D

Topic:  framing: masks and multiple images

Learning Objective:  Define masks.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

25) Viewers are most aware of off-screen space when

1. A) it creates surprise or suspense.
2. B) a character looks or gestures at something happening off-screen.
3. C) a character is unaware of what is happening off-screen.
4. D) it has been shown several times in the film.

 

Answer:  A

Topic:  framing: onscreen and offscreen

Learning Objective:  Explain the uses of onscreen and offscreen space.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

26) A medium shot frames the body

1. A) from the chest up.
2. B) from the knees up.
3. C) from the waist up.
4. D) from the neck up.

 

Answer:  C

Topic:  framing: camera position

Learning Objective:  Describe distance in framing an image.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

27) In a crane shot, the camera moves

1. A) in any direction along the ground.
2. B) above the ground level.
3. C) diagonally.
4. D) in circles.

 

Answer:  B

Topic:  mobile frame

Learning Objective:  Describe height in framing an image.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

28) What type of camera movement swivels the camera horizontally on a vertical axis?

1. A) crane
2. B) dolly
3. C) tilt
4. D) pan

 

Answer:  D

Topic:  mobile frame

Learning Objective:  Identify types of mobile framing.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

29) Shots in which a filmmaker prefers bumpy over smooth camera movements are usually created

1. A) by the operator walking with a handheld camera.
2. B) in the postproduction phase.
3. C) with a camera mounted to a dolly.
4. D) by the operator deliberately jerking the camera up and down rapidly.

 

Answer:  A

Topic:  mobile frame

Learning Objective:  Describe the dependency of camera movements on machinery.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

30) Which of the following is NOT true of an extreme close-up?

1. A) It singles out one portion of a character’s face.
2. B) It focuses on a character from the waist up.
3. C) It isolates an object.
4. D) It magnifies an object.

 

Answer:  B

Topic:  the lens: depth of field and focus

Learning Objective:  Describe distance in framing an image.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

31) A low-contrast image displays a wide range of grays.

 

Answer:  TRUE

Topic:  tonalities: contrast

Learning Objective:  Define contrast.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

32) The range of tonalities in the image is most crucially affected by the exposure of the image during filming.

 

Answer:  TRUE

Topic:  tonalities: exposure

Learning Objective:  Define exposure.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

33) Slow motion is achieved by decreasing the number of frames per second shot.

 

Answer:  FALSE

Topic:  speed of motion

Learning Objective:  List the factors that determine the speed of motion presented onscreen.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

34) Wide-angle lenses are also referred to as “telephoto” lenses.

 

Answer:  FALSE

Topic:  the lens: focal length

Learning Objective:  Describe a telephoto lens.; Describe a wide-angle lens.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

35) A long-focal-length lens tends to squash the planes of action together, reducing the impression of depth.

 

Answer:  TRUE

Topic:  the lens: focal length

Learning Objective:  Define depth of field.; Describe a telephoto lens.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

36) “Racking focus” refers to adjusting the camera to change the plane that is in focus.

 

Answer:  TRUE

Topic:  the lens: depth of field and focus

Learning Objective:  Define racking focus.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

37) Digital grading allows for altering the color of shots in postproduction.

 

Answer:  TRUE

Topic:  changing tonalities

Learning Objective:  Recall how tonalities are changed after filming.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

38) The Lumière brothers’ early camera was too bulky and heavy to take on location, leading them to shoot exclusively in a film studio.

 

Answer:  FALSE

Topic:  mobile frame

Learning Objective:  Describe the dependency of camera movements on machinery.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

39) Rear projection seldom creates convincing depth cues in the frame.

 

Answer:  TRUE

Topic:  framing: masks and multiple images

Learning Objective:  Explain the process of multiple-frame or split-screen imagery.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

40) A zoom lens allows filmmakers to magnify or minimize objects without changing perspective relationships in the shot.

 

Answer:  FALSE

Topic:  the lens: depth of field and focus

Learning Objective:  Describe a zoom lens.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

41) A “long take” is a shot taken with the camera at a considerable distance away from the main subject of the shot.

 

Answer:  FALSE

Topic:  duration of the image

Learning Objective:  Explain the functions of the long take.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

42) “Day-for-night” technique involves shooting outdoor day scenes at night.

 

Answer:  FALSE

Topic:  changing tonalities; special effects

Learning Objective:  Define filters.; Explain how special effects function.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

43) “Perspective” refers to a set of spatial relations around a particular viewing point.

 

Answer:  TRUE

Topic:  the lens: depth of field and focus

Learning Objective:  Define depth of field.; Describe the development of virtual perspective.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

44) If a wide-angle lens and a telephoto lens photograph the same scene, the perspective relations in the images they capture will likely be the same.

 

Answer:  FALSE

Topic:  the lens: focal length; the lens: depth of field and focus

Learning Objective:  Describe a telephoto lens.; Describe a wide-angle lens.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

45) Today telephoto lenses, sometimes called long lenses, are usually at least 100 mm in length.

 

Answer:  TRUE

Topic:  the lens: focal length

Learning Objective:  Describe a telephoto lens.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

46) The most realistic type of special effect is superimposition.

 

Answer:  FALSE

Topic:  special effects

Learning Objective:  Explain how special effects function.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

 

 

47) Current 3D technology creates live-action images with all of the volume and solidity of the real world by always using extreme depth of field.

 

Answer:  FALSE

Topic:  framing: masks and multiple images

Learning Objective:  Explain the process of multiple-frame or split-screen imagery.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

48) “Aspect ratio” is the ratio of frame width to frame height.

 

Answer:  TRUE

Topic:  framing: aspect ratios

Learning Objective:  Define aspect ratio.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

49) In an extreme long shot, a human figure appears tiny or is lost to view.

 

Answer:  TRUE

Topic:  the lens: depth of field and focus

Learning Objective:  Define depth of field.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

50) Action involving digital special effects must be shot in front of a blue or green screen.

 

Answer:  TRUE

Topic:  special effects; framing: masks and multiple images

Learning Objective:  Explain how special effects function.; Explain the process of multiple-frame or split-screen imagery.

Bloom’s:  Remember

Accessibility:  Keyboard Navigation

 

51) Describe some of the tools of mobile framing available to the cinematographer and some of the artistic functions they can serve. Give some specific examples from FilmArt, the lecture, and any film seen for this class.

 

Answer:  Answers will vary

Topic:  mobile frame

Learning Objective:  Define mobile framing.; Identify types of mobile framing.; Explain the functions of frame mobility.

Bloom’s:  Understand

Accessibility:  Keyboard Navigation

 

 

 

52) Describe how computer-generated imagery was integrated into all stages of production in Peter Jackson’s film adaptation of J. R. R. Tolkien’s The Lord of the Rings.

 

Answer:  Answers will vary

Topic:  special effects; framing: masks and multiple images

Learning Objective:  Explain how special effects function.; Explain the use of computer-generated imagery.

Bloom’s:  Analyze

Accessibility:  Keyboard Navigation