Cinema midterm

Question 1

Realism

Answer 1

attempts to maintain the illusion that the film world is unmanipulated

Question 2

formalism

Answer 2

consciously draws attention to the aesthetic form.

Question 3

Auteur

Answer 3

a French word used for the director who can be perceived as the major creator of his films, and who has a signature style that can be seen across a body of work.

Question 4

pan

Answer 4

scans the scene horizontally

Question 5

zoom

Answer 5

plunges the viewer in and out of a scene by switching from a wide-angle to a telephoto shot and vice-versa.

Question 6

track shot, truck shot, or dolly shot

Answer 6

a shot taken from a moving vehicle. This type of shot tends to give the viewer a sense of movement.

Question 7

establishing shot

Answer 7

an extreme long shot that serves as a spatial frame of reference for closer shots.

Question 8

cinematographer

Answer 8

responsible for the lighting of the shot and the quality of the photography.

Question 9

Tight framing

Answer 9

generally in close, encloses and entraps the subject

Question 10

loose framing,

Answer 10

generally taken in longer shot leaves empty space in the frame and tends to give a sense of freedom.

Question 11

Close-up

Answer 11

the area within the frame is roughly equivalent to a human head

Question 12

Full shot

Answer 12

shows a figure from head to toe

Question 13

Medium shot

Answer 13

shows a figure from knees or waist up.

Question 14

Long shot

Answer 14

the area within the frame is roughly equivalent to the proscenium arch in a theatre.

Question 15

Head-On

Answer 15

Akin, 2004

Question 16

Citizen Kane

Answer 16

Welles, 1941

Question 17

In The Mood for Love

Answer 17

Kar Wai, 2001

Question 18

Goodfellas

Answer 18

Scorsese, 1990

Question 19

Rear Window

Answer 19

Hitchcock, 1954

Question 20

Psycho

Answer 20

Hitchcock, 1960

Question 21

proxemic pattern

Answer 21

the spatial relationships of the characters as well as the apparent distance of the camera from the subject photographed.

Question 22

Intimate

Answer 22

from skin contact to eighteen inches (close-up)

Question 23

Personal

Answer 23

from eighteen inches to four feet (medium shot)

Question 24

Social

Answer 24

from four feet to twelve feet (full shot)

Question 25

Public

Answer 25

twelve feet and beyond (long shot)

Question 26

bird’s-eye

Answer 26

view photographs a scene from directly overhead

Question 27

eye-level shot

Answer 27

photographs a scene roughly the way an observer might actually view it and is seldom intrinsically dramatic.

Question 28

low-angle

Answer 28

photographed from below and tends to heighten the importance of the subject photographed as well as suggest verticality.

Question 29

high-angle shot

Answer 29

photographs a scene from slightly above and tends to reduce the importance of the subject photographed.

Question 30

oblique angle

Answer 30

involves a lateral tilt of the camera. When the image is projected, the horizon is skewed. This tends to create tension and disorient the viewer.

Question 31

genre.

Answer 31

A recognizable movie characterized by certain pre-established conventions.

Question 32

What is the type of lens that records a large area while keeping everything in focus?

Answer 32

A wide angle lens.

Question 33

dominant

Answer 33

the area of the screen that immediatey draws the viewer’s interest.

Question 34

subsidiary contrast

Answer 34

is a subordinated element of the film image.

Question 35

High key

Answer 35

a style of lighting that emphasizes bright and even illumination, with few conspicuous shadows, and is generally used in comedies, musicals, and light entertainment films.

Question 36

Low key

Answer 36

lighting is a style of lighting that emphasizes diffused shadows and atmospheric pools of light and is generally used for mysteries and thrillers.

Question 37

High contrast

Answer 37

a style of lighting emphasizing harsh shafts and dramatic streaks of lights and darks that is often used in thrillers and melodramas.

Question 38

Backlighting

Answer 38

when the lights for a shot derive from the rear of the set, thus throwing the foreground figures into semidarkness or silhouette.

Question 39

mise en scène

Answer 39

the arrangement of visual weights and movements within a given space. In cinema, this space is defined by the frame that encloses the image.

Question 40

What is the name of a shot taken from the vantage point of a character in the film (a shot that shows what the character sees)?

Answer 40

Point-of-view shot Pov shot First-person camera Subjective camera

Question 41

dissolve

Answer 41

the slow fading out of one shot and the gradual fading in of its successor, with a superimposition of images, usually at the midpoint.

Question 42

Those images that are recorded continuously from the time the camera starts to the time it stops. This defines a:

Answer 42

shot

Question 43

Define flashback and flash-forward

Answer 43

An editing technique that suggests the interruption of the present by a shot or series of shots representing the past (flashback)/future (flash-forward).

Question 44

Sequence shot

Answer 44

A single lengthy shot, usually involving complex staging and camera movements.

Question 45

Cutting to continuity

Answer 45

A type of editing in which the shots are arranged to preserve the fluidity of an action without showing all of it. An unobtrusive condensation of a continuous action; A system of cutting to maintain continuous and clear narrative action. Continuity editing relies upon matching screen direction, position, and temporal relations from shot to shot.

Question 46

Classical cutting

Answer 46

A style of editing developed by D.W. Griffith, in which a sequence of shots is determined by a scene’s dramatic and emotional emphasis rather than by physical action alone. The sequence of shots represents the breakdown of the event into its psychological as well as logical components.

Question 47

Thematic montage

Answer 47

A type of editing propounded by the Soviet filmmaker Eisenstein, in which separate shots are linked together not by their literal continuity in reality but by symbolic association. A shot of a preening braggart might be linked to a shot of a toy peacock, for example. Most commonly used in documentaries, in which shots are connected in accordance to the filmmaker’s thesis.

Question 48

Abstract cutting

Answer 48

A very formalistic style of editing with little connection to any recognizable subject matter.