Question 1

Film scholars use the term mise-en-scene to describe the director's control over

Accepted Answer

A)  where the film will be shot. 
B)  what appears in the film frame. 
C)  what actors will appear in the film. 
D)  how long shooting will last. 
A)  where the film will be shot. 
B)  what appears in the film frame. 
C)  what actors will appear in the film. 
D)  how long shooting will last.

Question 2

Animated films, like live-action films, have mise-en-scene.

Accepted Answer

A) True 
 B)False

Question 3

Discuss the problems with using realism as a criterion for evaluating films, giving specific examples from any of the films shown for this class.

Accepted Answer

Realism as a criterion for evaluating fi

Question 4

Most of the gags in Our Hospitality depend on shallow-space compositions.

Accepted Answer

A) True 
 B)False

Question 5

"Warm" colors tend to attract the spectator's eye more than "cool" colors.

Accepted Answer

A) True 
 B)False

Question 6

Discuss how Michelangelo Antonioni uses mise-en-scene through time and space to tell the story in his film L'Avventura.

Accepted Answer

Michelangelo Antonioni's use of mise-en-

Question 7

Aerial perspective suggests depth by

Accepted Answer

A)  making more distant planes seem hazier than closer ones. 
B)  creating a high angle that makes parallel lines meet at the horizon. 
C)  composing a shot that makes the sky dominate the image. 
D)  filming from directly above a character or a setting. 
A)  making more distant planes seem hazier than closer ones. 
B)  creating a high angle that makes parallel lines meet at the horizon. 
C)  composing a shot that makes the sky dominate the image. 
D)  filming from directly above a character or a setting.

Question 8

"Fill" light is used to create deep shadows.

Accepted Answer

A) True 
 B)False

Question 9

Frontal lighting has a tendency to

Accepted Answer

A)  create shadows. 
B)  distort images. 
C)  eliminate shadows. 
D)  sculpt a character's features. 
A)  create shadows. 
B)  distort images. 
C)  eliminate shadows. 
D)  sculpt a character's features.

Question 10

Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.

Accepted Answer

A) True 
 B)False

Question 11

Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions.

Accepted Answer

A) True 
 B)False

Question 12

Georges Méliès's "Star-Film" studio was designed to give him control over every aspect of mise-en-scene.

Accepted Answer

A) True 
 B)False

Question 13

When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.

Accepted Answer

A) True 
 B)False

Question 14

When filmmakers choose to control lighting, they typically use

Accepted Answer

A)  different colors of lighting. 
B)  a soft, yellow, incandescent light. 
C)  natural sources of lighting. 
D)  a light that is as purely white as possible. 
A)  different colors of lighting. 
B)  a soft, yellow, incandescent light. 
C)  natural sources of lighting. 
D)  a light that is as purely white as possible.

Question 15

Depth cues that create the illusion of depth requiring input from only one eye are

Accepted Answer

A)  monochromatic. 
B)  monotone. 
C)  monolithic. 
D)  monocular. 
A)  monochromatic. 
B)  monotone. 
C)  monolithic. 
D)  monocular.

Question 16

In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera is placed.

Accepted Answer

A) True 
 B)False

Film scholars use the term mise-en-scene to describe the director's control over

Animated films, like live-action films, have mise-en-scene.

Discuss the problems with using realism as a criterion for evaluating films, giving specific examples from any of the films shown for this class.

Most of the gags in Our Hospitality depend on shallow-space compositions.

"Warm" colors tend to attract the spectator's eye more than "cool" colors.

Discuss how Michelangelo Antonioni uses mise-en-scene through time and space to tell the story in his film L'Avventura.

Aerial perspective suggests depth by

"Fill" light is used to create deep shadows.

Frontal lighting has a tendency to

Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.

Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions.

Georges Méliès's "Star-Film" studio was designed to give him control over every aspect of mise-en-scene.

When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.

When filmmakers choose to control lighting, they typically use

Depth cues that create the illusion of depth requiring input from only one eye are

In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera is placed.

Film as art: creativity, technology, and business

The significance of film form

Narrative form

The shot: cinematography

The relation of shot to shot: editing

Sound in the cinema

Summary: style as a formal system

Film genres

Documentary, experimental, and animated films

Historical changes in film art: conventions and choices, tradition and trends

Filters

Exam 4: The shot: mise-en-scene

Film scholars use the term mise-en-scene to describe the director's control over

Animated films, like live-action films, have mise-en-scene.

Discuss the problems with using realism as a criterion for evaluating films, giving specific examples from any of the films shown for this class.

Most of the gags in Our Hospitality depend on shallow-space compositions.

"Warm" colors tend to attract the spectator's eye more than "cool" colors.

Discuss how Michelangelo Antonioni uses mise-en-scene through time and space to tell the story in his film L'Avventura.

Aerial perspective suggests depth by

"Fill" light is used to create deep shadows.

Frontal lighting has a tendency to

Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.

Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions.

Georges Méliès's "Star-Film" studio was designed to give him control over every aspect of mise-en-scene.

When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.

When filmmakers choose to control lighting, they typically use

Depth cues that create the illusion of depth requiring input from only one eye are

In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera is placed.

Film as art: creativity, technology, and business

The significance of film form

Narrative form

The shot: cinematography

The relation of shot to shot: editing

Sound in the cinema

Summary: style as a formal system

Film genres

Documentary, experimental, and animated films

Historical changes in film art: conventions and choices, tradition and trends

Filters