Intro to Film Exam
cinematic language - answer The systems, methods, or conventions by which the
movies communicate with the viewer.
shot - answer 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 - answer The process by which the editor combines and coordinates individual
shots into a cinematic whole; the basic creative force of cinema.
cut - answer1. 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) - answerA shot that often shows a part of the body filling the frame—
traditionally a face, but possibly a hand, eye, or mouth.
storyboards - answerA 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 - answerThe actual physical relationships among figures and settings. Also, the
process during rehearsal of establishing those relationships.
fade-out/fade-in - answerA 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 - answerAlso 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 - answerAlso 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 - answerThe primary character whose pursuit of the goal provides the
structural foundation of a movie's story.
implicit meaning - answerAn 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 - answerEverything that a movie presents on its surface.
formal analysis - answerFilm 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 - answerThe 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 - answerA shared, public idea, such as a metaphor, an adage, a myth, a familiar
conflict, or personality type.
motif - answerA recurring visual, sound, or narrative element that imparts meaning or
significance.
dolly in - answerSlow 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 - answerA 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) - answerThe 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 -
answerplay 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 - answertap into and reinforce their most fundamental desires
and beliefs.
Why is cultural invisibility not always a calculated decision on the part of filmmakers? -
answerbecause 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 - answersorting
through the details and extracting the most important among them.
Implicit meaning is best defined as ________, while explicit meaning is best defined as
________. - answera 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? -
answerWe 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 - answerediting
Before attempting any interpretation of the formal elements used to communicate
intended meaning to the spectator, the analyst should carefully consider - answerthe
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? - answerSeriously 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 -
answerthe 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 - answernarrative
One of the unique properties of movies that distinguishes it from any other visual
medium is its capacity to - answerisolate details and juxtapose images within and
between shots.
The "invisibility" of meaning in movies is largely due to - answertheir rapidly and
constantly changing images not giving the viewer time to contemplate them.
A shot is best defined as - answeran unbroken span of action captured by an
uninterrupted run of a motion-picture camera.
cinematic language - answer The systems, methods, or conventions by which the
movies communicate with the viewer.
shot - answer 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 - answer The process by which the editor combines and coordinates individual
shots into a cinematic whole; the basic creative force of cinema.
cut - answer1. 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) - answerA shot that often shows a part of the body filling the frame—
traditionally a face, but possibly a hand, eye, or mouth.
storyboards - answerA 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 - answerThe actual physical relationships among figures and settings. Also, the
process during rehearsal of establishing those relationships.
fade-out/fade-in - answerA 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 - answerAlso 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 - answerAlso 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 - answerThe primary character whose pursuit of the goal provides the
structural foundation of a movie's story.
implicit meaning - answerAn 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 - answerEverything that a movie presents on its surface.
formal analysis - answerFilm 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 - answerThe 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 - answerA shared, public idea, such as a metaphor, an adage, a myth, a familiar
conflict, or personality type.
motif - answerA recurring visual, sound, or narrative element that imparts meaning or
significance.
dolly in - answerSlow 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 - answerA 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) - answerThe 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 -
answerplay 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 - answertap into and reinforce their most fundamental desires
and beliefs.
Why is cultural invisibility not always a calculated decision on the part of filmmakers? -
answerbecause 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 - answersorting
through the details and extracting the most important among them.
Implicit meaning is best defined as ________, while explicit meaning is best defined as
________. - answera 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? -
answerWe 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 - answerediting
Before attempting any interpretation of the formal elements used to communicate
intended meaning to the spectator, the analyst should carefully consider - answerthe
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? - answerSeriously 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 -
answerthe 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 - answernarrative
One of the unique properties of movies that distinguishes it from any other visual
medium is its capacity to - answerisolate details and juxtapose images within and
between shots.
The "invisibility" of meaning in movies is largely due to - answertheir rapidly and
constantly changing images not giving the viewer time to contemplate them.
A shot is best defined as - answeran unbroken span of action captured by an
uninterrupted run of a motion-picture camera.
