TFM-160 Unit 1 Quiz Questions With
Correct Answers
1. What is the difference between implicit and explicit meaning? (And
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how do these terms relate to onions, and ogres, and a movie such as
| | | | | | | | | | | | | |
Juno?" - CORRECT ANSWER✔✔-Ogres, Onions, and movies all have
| | | | | | | | |
layers. This relates to the implicit and explicit meaning. The implicit
| | | | | | | | | | |
meaning lies below the surface of a movie's story and presentation;
| | | | | | | | | | |
implied or suggested. The explicit meaning is available on the surface of
| | | | | | | | | | | |
the movie; obvious.
| |
What is "formal analysis" and how does formal analysis differ from
| | | | | | | | | | |
other types of analyses that explore the relationship between culture
| | | | | | | | | |
and movies? - CORRECT ANSWER✔✔-examines how a scene or
| | | | | | | | |
sequence uses formal elements: narrative, mise-en-scene,
| | | | | |
cinematography, editing, sound, and so on to convey story, mood, and | | | | | | | | | | |
meaning. It is fundamental to all approaches to understanding and
| | | | | | | | | |
engaging in cinema. | |
Alternative approaches analyze movies more as cultural artifacts rather
| | | | | | | | |
than as traditional works of art.
| | | | |
What do we mean when we describe cinematic language as "invisible"?
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What are some of the reasons why cinematic language is invisible? -
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CORRECT ANSWER✔✔-we mean that not all movie meaning is obvious
| | | | | | | | | |
, and easy to see. Movies have a way of hiding their methods and
| | | | | | | | | | | | |
meaning. One of the reasons why is because movies simply move too
| | | | | | | | | | | |
fast for viewers to consciously consider everything they've seen.
| | | | | | | |
● Hiding like the equipment, giving the illusion of a story happening
| | | | | | | | | | | |
right now "make it seem less like a movie"
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○ EX: can't see hanging camera because it would ruin the invisibility
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● Don't want to take away the narrative of the movie
| | | | | | | | | |
What do we mean by cultural invisibility? How is this different from
| | | | | | | | | | | |
cinematic invisibility? - CORRECT ANSWER✔✔-the way filmmakers are
| | | | | | | |
compelled to favor stories and themes that reinforce viewers' shared
| | | | | | | | | |
belief systems (film makers want to give people the movies they want to
| | | | | | | | | | | |
see because they will sell). Cinematic invisibility is different because it
| | | | | | | | | | | |
refers to the actual hidden/invisible meaning of the movie.
| | | | | | | |
What are the defining characteristics that distinguish movies from other
| | | | | | | | |
forms of art? - CORRECT ANSWER✔✔-The defining characteristics that
| | | | | | | | | |
distinguish movies from other forms of art are that movies move. The
| | | | | | | | | | | |
human brain and eye see movies as a fluid movement.
| | | | | | | | |
shot - CORRECT ANSWER✔✔-One uninterrupted run of the camera.
| | | | | | | |
cut - CORRECT ANSWER✔✔-A direct change from one shot to another
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Correct Answers
1. What is the difference between implicit and explicit meaning? (And
| | | | | | | | | | |
how do these terms relate to onions, and ogres, and a movie such as
| | | | | | | | | | | | | |
Juno?" - CORRECT ANSWER✔✔-Ogres, Onions, and movies all have
| | | | | | | | |
layers. This relates to the implicit and explicit meaning. The implicit
| | | | | | | | | | |
meaning lies below the surface of a movie's story and presentation;
| | | | | | | | | | |
implied or suggested. The explicit meaning is available on the surface of
| | | | | | | | | | | |
the movie; obvious.
| |
What is "formal analysis" and how does formal analysis differ from
| | | | | | | | | | |
other types of analyses that explore the relationship between culture
| | | | | | | | | |
and movies? - CORRECT ANSWER✔✔-examines how a scene or
| | | | | | | | |
sequence uses formal elements: narrative, mise-en-scene,
| | | | | |
cinematography, editing, sound, and so on to convey story, mood, and | | | | | | | | | | |
meaning. It is fundamental to all approaches to understanding and
| | | | | | | | | |
engaging in cinema. | |
Alternative approaches analyze movies more as cultural artifacts rather
| | | | | | | | |
than as traditional works of art.
| | | | |
What do we mean when we describe cinematic language as "invisible"?
| | | | | | | | | | |
What are some of the reasons why cinematic language is invisible? -
| | | | | | | | | | | |
CORRECT ANSWER✔✔-we mean that not all movie meaning is obvious
| | | | | | | | | |
, and easy to see. Movies have a way of hiding their methods and
| | | | | | | | | | | | |
meaning. One of the reasons why is because movies simply move too
| | | | | | | | | | | |
fast for viewers to consciously consider everything they've seen.
| | | | | | | |
● Hiding like the equipment, giving the illusion of a story happening
| | | | | | | | | | | |
right now "make it seem less like a movie"
| | | | | | | |
○ EX: can't see hanging camera because it would ruin the invisibility
| | | | | | | | | | |
● Don't want to take away the narrative of the movie
| | | | | | | | | |
What do we mean by cultural invisibility? How is this different from
| | | | | | | | | | | |
cinematic invisibility? - CORRECT ANSWER✔✔-the way filmmakers are
| | | | | | | |
compelled to favor stories and themes that reinforce viewers' shared
| | | | | | | | | |
belief systems (film makers want to give people the movies they want to
| | | | | | | | | | | |
see because they will sell). Cinematic invisibility is different because it
| | | | | | | | | | | |
refers to the actual hidden/invisible meaning of the movie.
| | | | | | | |
What are the defining characteristics that distinguish movies from other
| | | | | | | | |
forms of art? - CORRECT ANSWER✔✔-The defining characteristics that
| | | | | | | | | |
distinguish movies from other forms of art are that movies move. The
| | | | | | | | | | | |
human brain and eye see movies as a fluid movement.
| | | | | | | | |
shot - CORRECT ANSWER✔✔-One uninterrupted run of the camera.
| | | | | | | |
cut - CORRECT ANSWER✔✔-A direct change from one shot to another
| | | | | | | | | |
