CTVA 300 (FINAL EXAMS) UPDATED ACTUAL Questions
and CORRECT Answers
What is the musical structure of the R.E.M. video "What's four basic units: intro and verse 1, verse 2, short instrumental bridge, verse 3 and
the Frequency, Kenneth?"? What's the relation of that brief outro; low intensity, more intensity, least intensity, highest intensity
musical structure to the video's visual structure?
How do editorial decisions help structure the video? verses 2 and 3 are more dynamic with the most and quickest cuts in comparison
to verse 1 and the bridge
How does color help structure the video? What are the unifies sections, structures, and is manipulated to build intensity
color schemes of the section of the video? intro & verse 1 - affinity of high tone blue from shot to shot with a singular flash of
orange
verse 2 - dichromatic contrast of color within the shot red and blue briefly
switching to monochromatic contrast from shot to shot; contrast of tone (blue to
flash blue, dark blue bg and bright red flash fg) over the course of the shot
bridge - saturated high tone monochromatic blue
verse 3 - energy associated with color contrast reaches its height with more
dynamic contrasts of color (green, yellow, blue, red) within the shot and from shot
to shot
What effect on visual intensity does the constant it creates a dynamic contrast in tone
photoflashing of the set in this video have?
Describe the placement of the camera in the various verse 1 - frontal shots
sections of the video. verse 2 - oblique (slanted) set-ups to the left
verse 3 - all and more: left, right, behind, frontal
Describe the rendition of space in verse 1. in verse 2. in verse 1 - flat space
the bridge. in verse 3. verse 2 - more depth (not deep space)
bridge - flat space
verse 3 - breaking of 180 degree rule, placement to the right
Does image size differ from section to section of the ECUs and CUs used in verse 2 & 3 regularly cut to wide shots and increase
video? If so, how? dynamism
Describe the camera operation/movement in the sections verse 1 - six autonomous pans and tilts among static shots
of the video. verse 2 - aggressive xy-axis (top left to bottom right and back and forth) shaking
of the camera
bridge - almost all static
verse 3 - pans, tilts, shaking, and the addition of handheld with canted shots
In what section of the video do we see canted images? verse 3
, Describe variation in the performers' movement/dancing verse 1 - mainly y-axis (up and down) with some x-axis (left and right) -> flat
in the video. movement
verse 2 - stronger x-axis and some xy-axis (diagonal) movement -> more dynamic
but still flat
bridge - barely any movement -> flat
verse 3 - y, x, and xy-axis movement with z-axis (front and back) movement
Does camera angle differ from section to section of the verse 1, 2, bridge - normal and slightly high angles
video? If so, how? verse 3 - adds in extremely high and low angles
How is verse 3 different from verses 1 and 2 in terms of verse 3 incorporates low and high camera heights to the eyelevel and waist
camera height? Is it more intense or less intense? heights in the rest of the video; more intense
Rewatch "Breakaway" considering how Bruce Conner - 8fps
achieved the dynamic intensity in his film. - quarter second clips of woman posing differently with black frame inserts in
between
- large increase in image size
- zooming from medium shots to ECUs
- costume changes (e.g. black leotard to white slip)
- intercuts with focused and unfocused takes
- includes spoiled footage (lab markings and/or fogging)
- interrupts with six second zoom out shot of the woman in 24fps blowing a kiss
- changes to 36fps (slow motion) and intercuts with more images
- film goes completely in reverse at the end
Rewatch "Valse triste" considering visual rhythm. - the visual rhythm (determined by subject movement, camera movement, and
cutting rates) picks up as the music's tempo increases
- slow "push-ins" (z-axis dollies towards a subject)
- dissolves
- creeping of clouds across the frame
- slow spin of the globe as it slowly recedes into the background and the image
slowly fades out
- camera movement (the dolly-track across the train) and subject movement (a
miner pushes a coal cart, in the next shot) are selected for their matching speeds
Rewatch "Mothlight" asking what causes you to sense the what can be felt, however, is the ever-changing intensity associated with shapes
progression from moment to moment in the film. and colors and tones, created through contrast and affinity
Rewatch "Heart of the World" considering various Soviet Montage on CRACK
contrasts - image size, direction, compositions, etc - from
shot to shot.
Describe the ways Kubrick changed the characterization novel: deaf, defenseless, unfamiliar with eroticism, slightly senile old woman who
of Burgess' catlady. What about her home and its owns a collection of portraits, landscapes, and religious imagery; dialogue is very
furnishings? her dialogue? polite, stilted, official
film: fit, aggressive, dark haired woman, who owns fitness equipment, erotic,
principally lesbian paintings; curses like a sailor and is curt
What are the most common kinds of changes Kubrick 1) addition of formalities and pleasantries into fifty percent of the dialogue
made to his source material in adapting Burgess' novel? 2) the treatment of Alex's victims
and CORRECT Answers
What is the musical structure of the R.E.M. video "What's four basic units: intro and verse 1, verse 2, short instrumental bridge, verse 3 and
the Frequency, Kenneth?"? What's the relation of that brief outro; low intensity, more intensity, least intensity, highest intensity
musical structure to the video's visual structure?
How do editorial decisions help structure the video? verses 2 and 3 are more dynamic with the most and quickest cuts in comparison
to verse 1 and the bridge
How does color help structure the video? What are the unifies sections, structures, and is manipulated to build intensity
color schemes of the section of the video? intro & verse 1 - affinity of high tone blue from shot to shot with a singular flash of
orange
verse 2 - dichromatic contrast of color within the shot red and blue briefly
switching to monochromatic contrast from shot to shot; contrast of tone (blue to
flash blue, dark blue bg and bright red flash fg) over the course of the shot
bridge - saturated high tone monochromatic blue
verse 3 - energy associated with color contrast reaches its height with more
dynamic contrasts of color (green, yellow, blue, red) within the shot and from shot
to shot
What effect on visual intensity does the constant it creates a dynamic contrast in tone
photoflashing of the set in this video have?
Describe the placement of the camera in the various verse 1 - frontal shots
sections of the video. verse 2 - oblique (slanted) set-ups to the left
verse 3 - all and more: left, right, behind, frontal
Describe the rendition of space in verse 1. in verse 2. in verse 1 - flat space
the bridge. in verse 3. verse 2 - more depth (not deep space)
bridge - flat space
verse 3 - breaking of 180 degree rule, placement to the right
Does image size differ from section to section of the ECUs and CUs used in verse 2 & 3 regularly cut to wide shots and increase
video? If so, how? dynamism
Describe the camera operation/movement in the sections verse 1 - six autonomous pans and tilts among static shots
of the video. verse 2 - aggressive xy-axis (top left to bottom right and back and forth) shaking
of the camera
bridge - almost all static
verse 3 - pans, tilts, shaking, and the addition of handheld with canted shots
In what section of the video do we see canted images? verse 3
, Describe variation in the performers' movement/dancing verse 1 - mainly y-axis (up and down) with some x-axis (left and right) -> flat
in the video. movement
verse 2 - stronger x-axis and some xy-axis (diagonal) movement -> more dynamic
but still flat
bridge - barely any movement -> flat
verse 3 - y, x, and xy-axis movement with z-axis (front and back) movement
Does camera angle differ from section to section of the verse 1, 2, bridge - normal and slightly high angles
video? If so, how? verse 3 - adds in extremely high and low angles
How is verse 3 different from verses 1 and 2 in terms of verse 3 incorporates low and high camera heights to the eyelevel and waist
camera height? Is it more intense or less intense? heights in the rest of the video; more intense
Rewatch "Breakaway" considering how Bruce Conner - 8fps
achieved the dynamic intensity in his film. - quarter second clips of woman posing differently with black frame inserts in
between
- large increase in image size
- zooming from medium shots to ECUs
- costume changes (e.g. black leotard to white slip)
- intercuts with focused and unfocused takes
- includes spoiled footage (lab markings and/or fogging)
- interrupts with six second zoom out shot of the woman in 24fps blowing a kiss
- changes to 36fps (slow motion) and intercuts with more images
- film goes completely in reverse at the end
Rewatch "Valse triste" considering visual rhythm. - the visual rhythm (determined by subject movement, camera movement, and
cutting rates) picks up as the music's tempo increases
- slow "push-ins" (z-axis dollies towards a subject)
- dissolves
- creeping of clouds across the frame
- slow spin of the globe as it slowly recedes into the background and the image
slowly fades out
- camera movement (the dolly-track across the train) and subject movement (a
miner pushes a coal cart, in the next shot) are selected for their matching speeds
Rewatch "Mothlight" asking what causes you to sense the what can be felt, however, is the ever-changing intensity associated with shapes
progression from moment to moment in the film. and colors and tones, created through contrast and affinity
Rewatch "Heart of the World" considering various Soviet Montage on CRACK
contrasts - image size, direction, compositions, etc - from
shot to shot.
Describe the ways Kubrick changed the characterization novel: deaf, defenseless, unfamiliar with eroticism, slightly senile old woman who
of Burgess' catlady. What about her home and its owns a collection of portraits, landscapes, and religious imagery; dialogue is very
furnishings? her dialogue? polite, stilted, official
film: fit, aggressive, dark haired woman, who owns fitness equipment, erotic,
principally lesbian paintings; curses like a sailor and is curt
What are the most common kinds of changes Kubrick 1) addition of formalities and pleasantries into fifty percent of the dialogue
made to his source material in adapting Burgess' novel? 2) the treatment of Alex's victims
