The Art of Watching Films 9Th Edition By Dennis Petrie - Test Bank

The Art of Watching Films 9Th Edition By Dennis Petrie – Test Bank

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Chapter 05

Cinematography and Special Visual Effects

1. To what effect is the low-angle shot of the British naval officer used at the end of the 1953 film Lord of the Flies?
2. Surprising the audience with the revelation of his arrival
3. Infusing his figure with benevolence
4. C. Exaggerating his size and dominance
5. Framing him as the antagonist

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2. Which of the following takes place in a high-angle shot?
3. Moving a camera’s “line of sight” in a vertical plane, up or down
4. Conveying certain subjective states, such as shock or confusion
5. Approximating the human eye’s ability to see a deep range of objects in clear focus
6. D. Dwarfing a subject and diminishing its importance

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3. What is achieved by soft focus in the film Mr. Smith Goes to Washington?
4. A dream state
5. The conveyance of a state of drunkenness
6. C. An indication of the subject’s love for another character
7. A state of confusion for the characters

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4. ________ is defined as the use of special lenses that allow a camera to focus simultaneously and usually with equal clarity on objects anywhere from 2 feet to several hundred feet away.
5. Rack focus
6. Stop-motion animation
7. Foreground framing
8. D. Deep focus

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5. Panning
6. involves moving a camera’s “line of sight” in a vertical plane, up or down.
7. B. involves moving a camera’s “line of sight” in a horizontal plane, left or right.
8. can often be used to convey certain subjective states, such as shock or confusion.
9. is the creation of a sense of three-dimensionality by moving a camera 360 degrees around a subject.

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6. Tilting
7. A. approximates the vertical movement of one’s head and eyes.
8. moves a camera’s “line of sight” in a horizontal plane, left or right.
9. is intended to give a subjective sense of dizziness or confusion to the audience.
10. is used to keep a framed subject from being at the center of action in a scene.

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7. When experiencing a director’s interpretive point of view,
8. the audience is moved into the same perspective as the character.
9. the shots are made unreal through extreme affectation.
10. C. we are consciously aware that the director wants us to view the action in some unusual way.
11. the director is going for a naturalistic “invisible camera” perspective.

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8. The fish-eye lens is often used to create
9. emotional states of obsession or love.
10. B. unusual subjective states such as dreams, fantasies, or intoxication.
11. underwater shots.
12. panoramic shots of natural vistas.

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9. The handheld camera is most often used for creating
10. smooth and floating high-angle shots.
11. low-angle shots when an approaching object passes directly overhead.
12. a steadying effect for close-ups of character confrontations.
13. D. a heightened sense of reality provided by the subjective viewpoint.

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10. A telephoto lens
11. magnifies an image, but the effect is one of moving toward the subject in the image.
12. exaggerates the distance between objects in the foreground and background.
13. C. compresses depth so that the distance between foreground and background objects seems less than it actually is.
14. magnifies objects in the foreground and background without affecting the sense of distance.

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11. How did critic Richard Corliss describe the animated film The Prince of Egypt?
12. As the first truly successful—both critically and commercially—example of 3-D feature animation
13. As an example of sad attempts by studios to keep hand-drawn animation relevant
14. C. As a crusade to expand the frustratingly narrow boundaries of feature animation
15. As a failed experiment in making animation with adult themes

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12. The first and most essential property of a cinematic film is its
13. freedom from the spoken word.
14. ability to create an illusion of depth.
15. powerful use of color, light, and shadow.
16. D. quality of continuous motion.

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13. When the camera lens shifts focus in one continuous shot to objects in different planes of depth one after another, this is called
14. zoom lens.
15. B. rack focus.
16. foreground framing.
17. deep focus.

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14. The rate at which film runs through a movie camera or projector is
15. 15 frames per second.
16. 20 frames per second.
17. C. 24 frames per second.
18. 28 frames per second.

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15. According to the standard principles of visual composition, strength, authority, and dignity are suggested by
16. A. vertical lines.
17. diagonal lines.
18. curved lines.
19. rippling or flowing lines.

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16. Dead screen refers to which of the following?
17. Screen time devoted to nondiegetic elements such as opening credits
18. Shots involving extreme camera actions that confuse or cause disinterest in the viewer
19. Shots of a film that do not contain any of the principal characters
20. D. Screen area with no dramatically or aesthetically interesting visual information

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17. The text offers the films Blade Runner, The Thing, and Bram Stoker’s Dracula as examples of
18. films that involve transformation sequences with more emphasis on the character than the visuals.
19. B. films in which the special effects visuals overwhelm the story and characters.
20. films that use special effects to create complete fantasy worlds.
21. suspense and horror films that make extensive use of all special subjective camera shots and lenses.

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18. The fixed camera frame approximates the effect of
19. a direct aerial view.
20. a flat horizon shot.
21. C. looking through a window.
22. falling from a subjective point of view.

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19. ________ is a series of lenses that keeps an image in constant focus and allows the camera to appear to glide toward or away from a subject without any camera movement.
20. A telephoto lens
21. The Steadicam
22. The Barlow lens
23. D. The zoom lens

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20. A ________ exaggerates a perspective, so that the distance between an object in the foreground and one in the background seems much greater than it actually is.
21. A. wide-angle lens
22. telephoto lens
23. deep-focus lens
24. zoom lens

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21. ________ is a portable, one-person camera with a built-in gyroscopic device that prevents any sudden jerkiness and provides a smooth, rock-steady image even when the person carrying it is running up a flight of steps or down a rocky mountain path.
22. A SnorriCam
23. B. The Steadicam
24. The Spidercam
25. The Skycam

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22. The indirect-subjective viewpoint is used primarily to make the viewer feel intensely involved in the action.

TRUE

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23. An objective shot that shows a character looking at something off screen is called a “look of outward regard.”

TRUE

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24. In cinematography, a sense of naturalness is more praiseworthy than clever camerawork.

TRUE

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25. The objective point of view provides one with the visual viewpoint and emotional intensity felt by a character participating in an action.

FALSE

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26. Perhaps the most important consideration in creating a three-dimensional image is how to arrange the people and objects to be filmed.

TRUE

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27. Deep-focus cinematography tends to require a fast and rhythmic editing pace.

FALSE

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28. A cinematic film refers to a film that takes advantage of all the special properties and qualities that make the film medium unique.

TRUE

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29. Time-lapse photography achieves an extreme form of slow motion.

FALSE

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30. Purely lateral movement in a fixed frame shot enhances the illusion of depth.

FALSE

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31. A long shot is taken from a distance and shows the subject as well as its surroundings.

TRUE

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32. CGI techniques have played a significant role in films ever since the original King Kong.

FALSE

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33. A wide-angle lens exaggerates the depth perspective of an image, so that the distance between an object in the foreground and one in the background seems much greater than it actually is.

TRUE

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