FILM EXAM QUESTIONS WITH ALL
CORRECT ANSWERS | VERIFIED
The Basic Approach CORRECT ANSWERS When we enter the theater to watch the
film, we need to keep certain things in mind. We cannot freeze the film for analysis—
only in its continuous flowing form it is truly a motion picture. Therefore, we must
concentrate most of our attention on responding sensitively to what is happening on
screen—the simultaneous interplay of image, sound, and motion.
Theme CORRECT ANSWERS The central concern around which a literary work or film
is structured, its unifying focus.
Relationship of the Parts to the Whole CORRECT ANSWERS Once we have tentatively
identified the film's theme and have stated the theme as concisely and precisely as
possible, we should move on to see how well our decisions stand up under a complete
analysis of all film elements. (How do all the separate elements of the film relate to and
contribute to the theme, central purpose, or fatal effect?)
Films Level of Ambition CORRECT ANSWERS Before beginning any objective
evaluation, we must consider the films level of ambition. It is grossly unfair to judge a
film that seeks only to entertain as though it were intended as the ultimate in serious
cinematic art. (Popcorn movie or a great piece of art?)
Objective Evaluation of the Film CORRECT ANSWERS Once we have clearly
established the theme and the level of ambition and have seen how the elements
function together to contribute to the theme, we are ready to begin our objective
evaluation. (Given the film's level of ambition, how well does the film succeed in what it
tries to do?)
Subjective Evaluation of the Film CORRECT ANSWERS Our reaction to films is much
more complex than this, for we are human beings, not computers, and we know that
much of art is intuitive, emotional, and personal. Thus, our reaction to it will include
strong feeling, prejudices, and biases. It will be colored by our life experiences, by our
moral and social conditioning, by our degree of sophistication, by our age, by the time
and place in which we live, and by every unique aspect of our personality. (What is our
personal reaction to the film? What are our personal reasons for liking or disliking?)
Film as Technical achievement CORRECT ANSWERS If we have sufficient
understanding of the film medium and the techniques of filmmaking, we may want to
focus on the technical devices that the filmmaker uses and the importance of these
techniques to the film's overall impact. In evaluating the film in this manner, we are more
concerned with 'how' the director communicates than with 'what' he or she
communicates or 'why'. By these standards, the most nearly perfect film is the one that
best utilizes the potential of the medium.
, The Film as Showcase for the Actor CORRECT ANSWERS If our primary interest is in
actors, acting performances, and screen personalities, we may want to focus on the
performances of the major actors in the film, especially the established stars or film
personalities. The best film is one in which the basic personality, acting style, or
personal idiosyncrasies of the leading actor in the cast are the best projected.
The Film as Product of a single Creative Mind CORRECT ANSWERS In this approach,
we focus on the style, technique, and philosophy of the film's dominant creative
personality— the director, the auteur, the complete filmmaker whose genius, style and
creative personality or reflected one very aspect of the film.
The Film as Moral, Philosophical, or Social Statement CORRECT ANSWERS In this
approach, often called the 'humanistic approach', we focus attention on the statement
the film makes and because the best films are built around a statement that teaches us
something. In this kind of evaluation, we must determine whether the acting and the
characters have significance or meaning beyond the context of the film itself.
Genre Film CORRECT ANSWERS a film bases on subjects, themes, or styles that have
become familiar because they have been used often.
Film as Political Statement CORRECT ANSWERS Film may reflect a variety of political
stances. (Marxist perspective) Based on the premise that film is a passive product of the
economic aspects of a culture and that all movies are ultimately statements about the
struggle for power between economic classes.
The Problems of Adaptation CORRECT ANSWERS When we see a film adaptation of a
favorite book or show, we may expect the film to duplicate the experience we had when
we read or saw the or the original work. That is, of course, impossible.
Change in Medium CORRECT ANSWERS The medium in which a story is told has a
definite effect on the story itself. Each medium has its strengths and limitations, and any
adaptation from one medium to another must take these factors into account and adjust
the subject matter accordingly.
Change in Creative Artists CORRECT ANSWERS In our analysis, we certainly must
consider the influence that any change in creative talents has on a work of art. No two
creative minds are alike, and when the reins are passed from one creative hand to
another, the end product changes.
Cinematic Potential of the Original Work CORRECT ANSWERS "Not every written thing
aspires to be a movie," Renate Adler. Henry James shot stories are abstract, analytical,
and some say convoluted.
Literary Versus Cinematic Point of View CORRECT ANSWERS In literature, point of
view refers to the vantage point from which the author presents the action of the story.
CORRECT ANSWERS | VERIFIED
The Basic Approach CORRECT ANSWERS When we enter the theater to watch the
film, we need to keep certain things in mind. We cannot freeze the film for analysis—
only in its continuous flowing form it is truly a motion picture. Therefore, we must
concentrate most of our attention on responding sensitively to what is happening on
screen—the simultaneous interplay of image, sound, and motion.
Theme CORRECT ANSWERS The central concern around which a literary work or film
is structured, its unifying focus.
Relationship of the Parts to the Whole CORRECT ANSWERS Once we have tentatively
identified the film's theme and have stated the theme as concisely and precisely as
possible, we should move on to see how well our decisions stand up under a complete
analysis of all film elements. (How do all the separate elements of the film relate to and
contribute to the theme, central purpose, or fatal effect?)
Films Level of Ambition CORRECT ANSWERS Before beginning any objective
evaluation, we must consider the films level of ambition. It is grossly unfair to judge a
film that seeks only to entertain as though it were intended as the ultimate in serious
cinematic art. (Popcorn movie or a great piece of art?)
Objective Evaluation of the Film CORRECT ANSWERS Once we have clearly
established the theme and the level of ambition and have seen how the elements
function together to contribute to the theme, we are ready to begin our objective
evaluation. (Given the film's level of ambition, how well does the film succeed in what it
tries to do?)
Subjective Evaluation of the Film CORRECT ANSWERS Our reaction to films is much
more complex than this, for we are human beings, not computers, and we know that
much of art is intuitive, emotional, and personal. Thus, our reaction to it will include
strong feeling, prejudices, and biases. It will be colored by our life experiences, by our
moral and social conditioning, by our degree of sophistication, by our age, by the time
and place in which we live, and by every unique aspect of our personality. (What is our
personal reaction to the film? What are our personal reasons for liking or disliking?)
Film as Technical achievement CORRECT ANSWERS If we have sufficient
understanding of the film medium and the techniques of filmmaking, we may want to
focus on the technical devices that the filmmaker uses and the importance of these
techniques to the film's overall impact. In evaluating the film in this manner, we are more
concerned with 'how' the director communicates than with 'what' he or she
communicates or 'why'. By these standards, the most nearly perfect film is the one that
best utilizes the potential of the medium.
, The Film as Showcase for the Actor CORRECT ANSWERS If our primary interest is in
actors, acting performances, and screen personalities, we may want to focus on the
performances of the major actors in the film, especially the established stars or film
personalities. The best film is one in which the basic personality, acting style, or
personal idiosyncrasies of the leading actor in the cast are the best projected.
The Film as Product of a single Creative Mind CORRECT ANSWERS In this approach,
we focus on the style, technique, and philosophy of the film's dominant creative
personality— the director, the auteur, the complete filmmaker whose genius, style and
creative personality or reflected one very aspect of the film.
The Film as Moral, Philosophical, or Social Statement CORRECT ANSWERS In this
approach, often called the 'humanistic approach', we focus attention on the statement
the film makes and because the best films are built around a statement that teaches us
something. In this kind of evaluation, we must determine whether the acting and the
characters have significance or meaning beyond the context of the film itself.
Genre Film CORRECT ANSWERS a film bases on subjects, themes, or styles that have
become familiar because they have been used often.
Film as Political Statement CORRECT ANSWERS Film may reflect a variety of political
stances. (Marxist perspective) Based on the premise that film is a passive product of the
economic aspects of a culture and that all movies are ultimately statements about the
struggle for power between economic classes.
The Problems of Adaptation CORRECT ANSWERS When we see a film adaptation of a
favorite book or show, we may expect the film to duplicate the experience we had when
we read or saw the or the original work. That is, of course, impossible.
Change in Medium CORRECT ANSWERS The medium in which a story is told has a
definite effect on the story itself. Each medium has its strengths and limitations, and any
adaptation from one medium to another must take these factors into account and adjust
the subject matter accordingly.
Change in Creative Artists CORRECT ANSWERS In our analysis, we certainly must
consider the influence that any change in creative talents has on a work of art. No two
creative minds are alike, and when the reins are passed from one creative hand to
another, the end product changes.
Cinematic Potential of the Original Work CORRECT ANSWERS "Not every written thing
aspires to be a movie," Renate Adler. Henry James shot stories are abstract, analytical,
and some say convoluted.
Literary Versus Cinematic Point of View CORRECT ANSWERS In literature, point of
view refers to the vantage point from which the author presents the action of the story.
