CIN101 Quiz 2

Question 1

Daniel Morgan

Answer 1

• the lure of the image
• Objective lessons

Question 2

The Diving Bella and the butterfly (Le scaphander et le Papillion)

Answer 2

Julian Schnabel 2007

Question 3

Lumieres film Arrival of a Train at La Ciotat

Answer 3

Auguste Louis Lumiere 1896 france

Question 4

All About My Mother

Answer 4

Pedro Almodovar, Spain, 1999

Question 5

What Time is it There?

Answer 5

Tsai Ming-liang, Taiwan, 2001

Question 6

La Ciénaga

Answer 6

d. Lucrecia Martel, Argentina, 2001

Question 7

Imagine an eye unruled by man-made laws of
perspective, an eye unprejudiced by compositional
logic, an eye which does not respond to the name of
everything but which knows each object encountered
in life through and adventure in perception. How many
colours are there in a field of grass to the crawling baby
unaware of “Green?” How many rainbows can light
create for the untutored eye?

Answer 7

Stan Brakhage, from Metaphors on Vision

Question 8

Colour is Relational

Answer 8

• perception of colour depends on relation established between two or more colours
• no colour appears the same way in every situation

Question 9

Natalie Kalmus, “Color Consciousness”

Answer 9

Kalmus was the Color
Supervisor for Technicolor
from 1934-1939

Question 10

Colour as Mood: Warm and Cool Colours
(Natalie Kalmus)

Answer 10

• colours fall into two groups
• “warm” (red, orange, yellow)
  
  • advancing colours
  • excitement, activity, heat
• “cool” (green, blue, violet)
  - retreating colours
  - rest, ease, coolness
• white
  - youth, gaiety, informality
• gray
  - subtlety, refinement, charm
• black
  - strength, seriousness, dignity

Question 11

Imagine an eye unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which knows each object encountered in life through and adventure in perception. How many colors are there in a field of grass to the crawling baby unaware of “Green?” How many rainbows can light create for the untutored eye?

Answer 11

Stan Brakhage, from Metaphors on Vision

Question 12

Figure/Ground Relations

Answer 12

Relating to or denoting the perception of objects
as they appear to be separated from the background.

Question 13

Colour Stenciling

Answer 13

An early colour process in which colour was stenciled onto black and white films.

Question 14

Necessity

Answer 14

When something cannot but occur.
e.g. Gravity

Question 15

Contingency

Answer 15

Something may occur, but it is not
guaranteed to occur

Question 16

“Does it make sense to point to a colour in the iris of a Rembrandt eye and ask for the walls
of my room to be painted the same colour?”

Answer 16

Ludwig Wittgenstein, Remarks on Colour

Question 17

“The cinema belongs to the shared genealogy of mechanical clock,
wireless telegraph, and railroad, that is, to the tendency toward the
technical denaturalization, homogenization, and the standardization of time.”

Answer 17

Bliss Cua Lim, “Two Modes of Temporal Critique”

Question 18

Period

Answer 18

• particular span of time (ten weeks, one hour, one decade)

Question 19

Historical context

Answer 19

• major events
• cultural norms and expectations that define a certain period

Question 20

“The Roundness of clocks is convenient, but it naturally
misleads us about something clocks tell, because its hands
repossess their old positions every day and every night.
The reels on a projector, like the bulbs of an hourglass,
repeat something else: that as the past fills up, the future
thins; and that the end, already there against the axle,
when the time comes for its running, seems to pick up
speed.”

Answer 20

tanley Cavell, The World Viewed

Question 21

Citation

Answer 21

• direct quotation
• insert
• reference to another work

Question 22

Allusion

Answer 22

• indirect reference to another work, we
  understand bc of visual similarity

Question 23

Intertextuality

Answer 23

• relationship established between two works of art
• begins as citation or allusion
• what happens in one film affects the way we think about the other

Question 24

Diegetic Sound

Answer 24

sound that appears to originate in the story world (traffic noise, dialogue)

Question 25

Extradiegetic Sound

Answer 25

comments on the story world and belongs to the narration (voice-over narration, film score)

Question 26

Subjective Sound

Answer 26

Sound rendered as a character hears it rather than as an objective auditor would hear it (point-of-audition v. point-of-view)

Question 27

conceptual music

Answer 27

two or more independent melodic lines

Question 28

sound image counterpoint

Answer 28

• sound and image remain independent of one another
• sound may compliment the image
• doe

Question 29

sound image counterpoint

Answer 29

• sound and image remain independent of one another
• sound may compliment the image
• doe