Intro to Film Exam
cinematic language - ANS-The systems, methods, or conventions by which the movies
communicate with the viewer.
shot - ANS-In an edited film, an unbroken span of action captured by an uninterrupted run of the
camera that lasts until it is replaced by another shot by means of a cut or other transition. 2.
During the pre-production and production process: a specific arrangement of elements to be
captured in a particular composition from a pre-determined camera position.
editing - ANS-The process by which the editor combines and coordinates individual shots into a
cinematic whole; the basic creative force of cinema.
cut - ANS-1. the act of an editor selecting an in point and an out point of a shot as part of the
editing process; 2. a direct change from one shot to another as a result of cutting; that is, the
precise point at which shot A ends and shot B begins; 3. an edited version of a scene or film, as
in a "rough cut".
close-up (CU) - ANS-A shot that often shows a part of the body filling the frame—traditionally a
face, but possibly a hand, eye, or mouth.
storyboards - ANS-A shot-by-shot breakdown that combines sketches or photographs of how
each shot is to look and written descriptions of the other elements that are to go with each shot,
including dialogue, sound, and music.
blocking - ANS-The actual physical relationships among figures and settings. Also, the process
during rehearsal of establishing those relationships.
fade-out/fade-in - ANS-A transitional devise in which the first shot fades out (gets progressively
darker) until the screen is entirely black. After a moment, the succeeding shot fades in
(becomes increasingly exposed). Fades often imply a passage of time.
low-angle shot - ANS-Also known as low shot. A shot that is made with the camera below the
action; it typically places the observer in a position of inferiority
cutting on action - ANS-Also known as match-on-action cut. A continuity editing technique that
smooths the transition between shots portraying a single action from different camera angles.
The editor ends the first shot in the middle of a continuing action and begins the subsequent
shot at approximately the same point in the matching action.
protagonist - ANS-The primary character whose pursuit of the goal provides the structural
foundation of a movie's story.
,implicit meaning - ANS-An association, connection, or inference that a viewer makes based on
the given (explicit) meaning conveyed by the story and form of a film. Lying below the surface of
explicit meaning, implicit meaning is closest to our everyday sense of the word meaning.
explicit meaning - ANS-Everything that a movie presents on its surface.
formal analysis - ANS-Film analysis that examines how a scene or sequence uses formal
elements—narrative, mise-en-scène, cinematography, editing, sound, and so on—to convey the
story, mood, and meaning.
form - ANS-The means by which a subject is expressed. The form for poetry is words; for
drama, it is speech and action; for movies, it is pictures and sound; and so on.
theme - ANS-A shared, public idea, such as a metaphor, an adage, a myth, a familiar conflict, or
personality type.
motif - ANS-A recurring visual, sound, or narrative element that imparts meaning or significance.
dolly in - ANS-Slow movement of the camera toward a subject, making the subject appear larger
and more significant. Such gradual intensification is commonly used at moments of a
character's realization or decision or as a point-of-view shot to indicate the reason for the
character's realization.
duration - ANS-A quantity of time. In any movie, we can identify three specific kinds of duration:
story duration (the time that the entire narrative arc—whether or not explicitly presented
on-screen—is implied to have taken), plot duration (the time that the events explicitly shown
on-screen are implied to have taken), and screen duration (the actual time elapsed while
presenting the movie's plot; that is, the movie's running time).
point of view (POV) - ANS-The position from which a film presents the actions of the story; not
only the relation of the narrator(s) to the story, but also the camera's act of seeing and hearing.
The two fundamental types of cinematic point of view are omniscient and restricted.
Because most movies seek to engage viewers' emotions and transport them inside the world
that is presented on-screen, the visual vocabulary of film is designed to - ANS-play on the same
instincts that we use to navigate and interpret the visual and aural information of our "real life."
In order to entertain and not provoke its customers, the film industry usually favors stories and
themes that - ANS-tap into and reinforce their most fundamental desires and beliefs.
Why is cultural invisibility not always a calculated decision on the part of filmmakers? -
ANS-because they are products of the same society inhabited by their intended audience
, Because movies are rich in plot detail, a good analysis must begin by - ANS-sorting through the
details and extracting the most important among them.
Implicit meaning is best defined as ________, while explicit meaning is best defined as
________. - ANS-a deep-level association, connection, or inference; meaning available on the
surface of the movie
In what ways that extend far beyond the multiplex have movies permeated our lives? - ANS-We
watch movies on cable and satellite channels, online, and on our iPads and cell phones; we buy
them at video stores and through the mail; and so on.
The joining together of discrete shots is called - ANS-editing
Before attempting any interpretation of the formal elements used to communicate intended
meaning to the spectator, the analyst should carefully consider - ANS-the narrative intent of the
moment, scene, or sequence in the movie.
Why are movies worthy of serious study, as opposed to being merely an outlet for escape or
entertainment? - ANS-Seriously studying movies allows people to understand how movies
shape the way we view the world.
Audience expectations specific to a particular performer can inform an analysis of - ANS-the
personal motives governing the performer's investment in particular projects.
Almost all ubiquitous commercial, feature-length movies share the same basic and important
element of - ANS-narrative
One of the unique properties of movies that distinguishes it from any other visual medium is its
capacity to - ANS-isolate details and juxtapose images within and between shots.
The "invisibility" of meaning in movies is largely due to - ANS-their rapidly and constantly
changing images not giving the viewer time to contemplate them.
A shot is best defined as - ANS-an unbroken span of action captured by an uninterrupted run of
a motion-picture camera.
The manner in which movies from various countries and societies present their narratives is
often profoundly affected by - ANS-cultural tradition
Blimp - ANS-A soundproofed enclosure somewhat larger than a camera, in which the camera
may be mounted to prevent its sounds from reaching the microphone. (page 245)
Boom - ANS-A pole-like mechanical device used to position the microphone outside the camera
frame, but as close as possible to speaking actors. (page 245)
cinematic language - ANS-The systems, methods, or conventions by which the movies
communicate with the viewer.
shot - ANS-In an edited film, an unbroken span of action captured by an uninterrupted run of the
camera that lasts until it is replaced by another shot by means of a cut or other transition. 2.
During the pre-production and production process: a specific arrangement of elements to be
captured in a particular composition from a pre-determined camera position.
editing - ANS-The process by which the editor combines and coordinates individual shots into a
cinematic whole; the basic creative force of cinema.
cut - ANS-1. the act of an editor selecting an in point and an out point of a shot as part of the
editing process; 2. a direct change from one shot to another as a result of cutting; that is, the
precise point at which shot A ends and shot B begins; 3. an edited version of a scene or film, as
in a "rough cut".
close-up (CU) - ANS-A shot that often shows a part of the body filling the frame—traditionally a
face, but possibly a hand, eye, or mouth.
storyboards - ANS-A shot-by-shot breakdown that combines sketches or photographs of how
each shot is to look and written descriptions of the other elements that are to go with each shot,
including dialogue, sound, and music.
blocking - ANS-The actual physical relationships among figures and settings. Also, the process
during rehearsal of establishing those relationships.
fade-out/fade-in - ANS-A transitional devise in which the first shot fades out (gets progressively
darker) until the screen is entirely black. After a moment, the succeeding shot fades in
(becomes increasingly exposed). Fades often imply a passage of time.
low-angle shot - ANS-Also known as low shot. A shot that is made with the camera below the
action; it typically places the observer in a position of inferiority
cutting on action - ANS-Also known as match-on-action cut. A continuity editing technique that
smooths the transition between shots portraying a single action from different camera angles.
The editor ends the first shot in the middle of a continuing action and begins the subsequent
shot at approximately the same point in the matching action.
protagonist - ANS-The primary character whose pursuit of the goal provides the structural
foundation of a movie's story.
,implicit meaning - ANS-An association, connection, or inference that a viewer makes based on
the given (explicit) meaning conveyed by the story and form of a film. Lying below the surface of
explicit meaning, implicit meaning is closest to our everyday sense of the word meaning.
explicit meaning - ANS-Everything that a movie presents on its surface.
formal analysis - ANS-Film analysis that examines how a scene or sequence uses formal
elements—narrative, mise-en-scène, cinematography, editing, sound, and so on—to convey the
story, mood, and meaning.
form - ANS-The means by which a subject is expressed. The form for poetry is words; for
drama, it is speech and action; for movies, it is pictures and sound; and so on.
theme - ANS-A shared, public idea, such as a metaphor, an adage, a myth, a familiar conflict, or
personality type.
motif - ANS-A recurring visual, sound, or narrative element that imparts meaning or significance.
dolly in - ANS-Slow movement of the camera toward a subject, making the subject appear larger
and more significant. Such gradual intensification is commonly used at moments of a
character's realization or decision or as a point-of-view shot to indicate the reason for the
character's realization.
duration - ANS-A quantity of time. In any movie, we can identify three specific kinds of duration:
story duration (the time that the entire narrative arc—whether or not explicitly presented
on-screen—is implied to have taken), plot duration (the time that the events explicitly shown
on-screen are implied to have taken), and screen duration (the actual time elapsed while
presenting the movie's plot; that is, the movie's running time).
point of view (POV) - ANS-The position from which a film presents the actions of the story; not
only the relation of the narrator(s) to the story, but also the camera's act of seeing and hearing.
The two fundamental types of cinematic point of view are omniscient and restricted.
Because most movies seek to engage viewers' emotions and transport them inside the world
that is presented on-screen, the visual vocabulary of film is designed to - ANS-play on the same
instincts that we use to navigate and interpret the visual and aural information of our "real life."
In order to entertain and not provoke its customers, the film industry usually favors stories and
themes that - ANS-tap into and reinforce their most fundamental desires and beliefs.
Why is cultural invisibility not always a calculated decision on the part of filmmakers? -
ANS-because they are products of the same society inhabited by their intended audience
, Because movies are rich in plot detail, a good analysis must begin by - ANS-sorting through the
details and extracting the most important among them.
Implicit meaning is best defined as ________, while explicit meaning is best defined as
________. - ANS-a deep-level association, connection, or inference; meaning available on the
surface of the movie
In what ways that extend far beyond the multiplex have movies permeated our lives? - ANS-We
watch movies on cable and satellite channels, online, and on our iPads and cell phones; we buy
them at video stores and through the mail; and so on.
The joining together of discrete shots is called - ANS-editing
Before attempting any interpretation of the formal elements used to communicate intended
meaning to the spectator, the analyst should carefully consider - ANS-the narrative intent of the
moment, scene, or sequence in the movie.
Why are movies worthy of serious study, as opposed to being merely an outlet for escape or
entertainment? - ANS-Seriously studying movies allows people to understand how movies
shape the way we view the world.
Audience expectations specific to a particular performer can inform an analysis of - ANS-the
personal motives governing the performer's investment in particular projects.
Almost all ubiquitous commercial, feature-length movies share the same basic and important
element of - ANS-narrative
One of the unique properties of movies that distinguishes it from any other visual medium is its
capacity to - ANS-isolate details and juxtapose images within and between shots.
The "invisibility" of meaning in movies is largely due to - ANS-their rapidly and constantly
changing images not giving the viewer time to contemplate them.
A shot is best defined as - ANS-an unbroken span of action captured by an uninterrupted run of
a motion-picture camera.
The manner in which movies from various countries and societies present their narratives is
often profoundly affected by - ANS-cultural tradition
Blimp - ANS-A soundproofed enclosure somewhat larger than a camera, in which the camera
may be mounted to prevent its sounds from reaching the microphone. (page 245)
Boom - ANS-A pole-like mechanical device used to position the microphone outside the camera
frame, but as close as possible to speaking actors. (page 245)
