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Beauty And Creativity > Final Exam > Flashcards

Final Exam Flashcards

1
Q

Jack the Dripper

A

Pollock

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2
Q

Transitional device in cinema using rapidly edited images to suggest the lapse of time

A

Montage

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3
Q

Jean Valjean is this type of character

A

Dynamic

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4
Q

This revolution moved people off the farm and into cities

A

Industrial

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5
Q

The most enduring symbolic object in Les Miserables

A

Candlesticks

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6
Q

“…my heart, that is my least vulnerable spot.”

A

Captain Renault

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7
Q

“I dreamed a dream”

A

Fantine

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8
Q

Unproduced play that eventually became Casablanca

A

Everybody Comes to Ricks

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9
Q

Common thread in Casablanca’s plot; Sam’s piano

A

Letters of transit

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10
Q

Art movement inspired by scientific discoveries in light and color

A

Impressionism

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11
Q

Art movement most closely associated with Pablo Picasso

A

Cubism

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12
Q

The Queen of the Night sings in this opera

A

The Magic Flute

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13
Q

Ballet based on primitivism with polyrhythms

A

Rite of Spring

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14
Q

Ilsa reveals to Rick that Laszlo was her husband, even in Paris

A

Recognition

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15
Q

“If we stop fighting our enemies, the world will die.”

A

Laszlo

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16
Q

Bottom of the 9th, 2 out, with the bases loaded

A

Beethoven’s 9th Symphony

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17
Q

Absolutism ended here in 1688

A

England

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18
Q

First to project a moving picture to a paying audience

A

Lumiere brothers

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19
Q

Camera becomes one of the characters in the film

A

Point of view

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20
Q

Melodic glue of Casablanca

A

As Time Goes By

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21
Q

Drew plans for the then most famous modern building in the world in less than 3 hours

A

Frank Lloyd Wright

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22
Q

In Peter Pan, the island becomes the moon which becomes the face of a clock

A

Form cut

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23
Q

Ilsa leaves Casablanca with Laszlo, not Rick

A

Reversal

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24
Q

“To owe life to a malefactor… to be, in spite of himself, on a level with a fugitive from justice… to betray society in order to be true to his own conscience; that all these absurdities… should accumulate… should accumulate on himself- this is what prostrated him.”

A

Javert

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25
Q

“You have to think for both of us, for all of us!”

A

Ilsa

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26
Q

“Louis, I think this is the beginning of a beautiful friendship.”

A

Rick

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27
Q

“It would take a miracle to get you out of Casablanca, and the Germans have outlawed miracles.”

A

Ferrari

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28
Q

A character who stays the same throughout a work

A

Static

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29
Q

Rick’s character was to be originally played by him

A

Ronald Reagan

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30
Q

Largely responsible for the bloodiest period of the French Revolution

A

Robespierre

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31
Q

Goals of film study

A

1- to learn and recognize techniques

2- to learn why directors used selected

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32
Q

What does film create?

A

Liquid time and liquid space

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33
Q

What can film make us do?

A

Act and react differently than we normally would to a given situation

34
Q

Who discovered persistence of vision

A

Roget

35
Q

What is persistence of vision

A

phenomenon of the eye that makes moving pictures seem like real motion because an image on the retina remains briefly visible after its actual disappearance

36
Q

Who created Daguerrotypes

A

Daguerre

37
Q

What are daguerrotypes

A

photographic process that yielded a clear picture on a silvered copper plate

38
Q

What was the Cinematographe

A

Combination camera projector with a patented claw for moving the film forward to create the illusion of movement- 1895

39
Q

Kinetoscope

A

Created by Thomas Edison; consisted of 12 short subjects- 1896

40
Q

One of the first fantasy films

A

Georges Melies’ A Trip to the Moon- 1902

41
Q

First full-length (12 minutes) epic narrative film with a cast of 40

A

Edwin S. Porters The Great Train Robbery- invented to show simultaneous actions

42
Q

First full-length popular sound film

A

The Jazz Singe

43
Q

First major movie star and what film

A

Charlie Chaplin; The Gold Rush

44
Q

Single most important film in the development cinema as a major art form, legitimate artistic “grammar”

A

D. W. Griffith’s Birth of a Nation

45
Q

Who introduced cinematic rhythm

A

D. W. Griffith

46
Q

Editing so as to create a pace that will involve and affect the audience- complete with cuts, close-ups, and lingering takes

A

Cinematic rhythm

47
Q

Establishment of the MPAA rating system in the U.S.

A

1967

48
Q

One of the most influential films ever made with deep-focus camera work, consisting of stark images and dramatic back lighting, and its creative editing

A

Orson Welle’s Citizen Kane

49
Q

Usually an extreme long or long shot offered at the beginning of a scene, providing the viewer with the general location of the film before subsequent shots

A

Establishing shot

50
Q

A shot taken from a moving vehicle (any shot in which the camera moves from one point to another, either sideways, in or out)

A

Tracking, dolly, or travel shot

51
Q

Selecting and joining two shots with a splice, in the finished film- any instantaneous change from one frame to another

A

Cut

52
Q

The formal features of one shot are echoed in the arrangement or movement of the shot immediately following

A

Form cut

53
Q

Alternating the shots from two or more lines of action occurring simultaneously in different locations, yet suggest they are taking place at the same time- used a lot in adventure or chase films

A

Cross-cutting

54
Q

the slow fading out of one shot and the gradual fading in of the next shot, with a superimposition of images

A

Dissolve

55
Q

the fade-out is the gradual fading of an image from normal brightness to a black screen. A fade-in is the opposite

A

Fade

56
Q

this is a revolving horizontal movement of the camera from left to right or vice versa.

A

Pan or panning shot

57
Q

shifting the focus (close or distant) during a shot to direct the viewer’s attention from one subject to another as it moves away from or toward the camera

A

Rack or follow focus

58
Q

a photographic technique that permits all distant planes to remain clearly focused, from close-up ranges to infinity

A

Deep focus

59
Q

Medved’s three Hollywood lies

A

We are just in the business of entertainment, we don’t really influence anybody; It’s just our job to reflect society. We don’t shape things, we just show them as they are; If you don’t like this stuff, then just turn it off

60
Q

Aristotle’s 6 elements of tragedy

A

Plot, character, thought, diction, song, spectacle

61
Q

a character who is not fully developed but sketched out through one or two distinguishing or recognizable traits

A

flat character

62
Q

a fully developed character, one whom readers feel might exist in life

A

round character

63
Q

a character who stays the same throughout a work

A

static character

64
Q

a character who undergoes a change in personality or attitude through the course of writing usually due to a change in the situation or the plot

A

dynamic character

65
Q

the central character in the text, the one with whom readers usually sympathize

A

protagonist

66
Q

a person or force (the enemy) that opposes the protagonist

A

antagonist

67
Q

narrator reports the facts and interprets events from the perspective of a single character

A

third-person limited

68
Q

an all-knowing narrator not only reports the facts but may also interpret events and relate the thoughts and feelings of any character.

A

third-person omniscient

69
Q

the facts of a narrative are reported by a seemingly neutral, impersonal observer or recorder

A

third-person objective

70
Q

took a radical ap- proach and sought to create colors by using only tiny dots, hoping that it would lead to the blending of colors by the eye

A

Georges Seurat

71
Q

To “give joy and consolation to every human being”

A

Van Gogh’s goal

72
Q

Emphasis on geometric forms

A

Cubism

73
Q

The distortion of things to present emotions

A

Expressionism

74
Q

One of most influential primitivists

A

Igor Stravinsky

75
Q

Paul Gauguin

A

Primitivism

76
Q

Simple outlines and large patches of intense color

A

Primitivism

77
Q

Composer for Sergei Diaghilev’s “Ballet Russe” (Russian Ballet)

A

Igor Stravinsky

78
Q

intense expressiveness

A

expressionism

79
Q

clarity of structure

A

cubism

80
Q

simplicity of technique

A

primitivism

81
Q

Rather than shaping things the way they appear in our physical eyes, he sought to present them the way they occur to the mind

A

Pablo Picasso

Beauty And Creativity (2 decks)

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