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The Art of Watching Films 9Th Edition By Dennis Petrie - Test Bank
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, Chapter 01The Art of Watching Films
1. Attendance at movie theaters
A. is growing at a faster rate than at any other time in American history.
B. continues to grow, but more and more of us most frequently view films in our own homes.
C. began to decline with the advent of videotapes and DVDs.
D. has held steady since the 1940s.
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2. Wide-screen formats were initially adapted to the standard television shape by a special editing process called
A. A and B roll editing.
B. letterboxing.
C. panning and scanning.
D. nonlinear editing.
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3. The use of black bands at the top and bottom of a screen to adapt wide-screen formats to the standard television screen is
known as
A. freeze framing.
B. letterboxing.
C. graphic matching.
D. superimposing.
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4. Film shares the ability to exploit the subtle interplay of light and shadow with which art form(s)?
A. Live theater
B. Dance
C. Poetry
D. Painting and photography
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5. Film shares with which art form(s) the ability to verbally communicate through imagery, metaphor, and symbol?
A. Live theater
B. Dance
C. Poetry
D. Painting and photography
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6. Which of the following is not among the clear benefits of film analysis?
A. It allows us to reach valid conclusions on a movie's meaning and value.
B. It creates a love of film.
C. It helps us capture the experience of a film in our minds.
D. It sharpens our critical judgments overall.
E. It opens up new channels of awareness and new depths of understanding.
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7. Which of the following is the most challenging aspect of film analysis?
A. Remaining totally immersed in the experience of a film while maintaining a high degree of objectivity and critical
detachment
B. Learning the techniques of cinematography so that they can be recognized on the screen
C. Putting aside our prejudices against certain types of films or film elements
D. Judging the narrative based on its own merits and not our expectations
E. Articulating thoughts about a film in written or verbal form
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8. Film is considered unique as an art form because
A. it is both an industry and an art form.
B. it can communicate through both dialogue and nonverbal action.
C. it possesses qualities of free and constant motion that convey an overwhelming sense of reality.
D. it combines the rhythmic qualities of both music and poetry.
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Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
,9. The use of concrete images and sounds in films
A. has the same effect as verbal images in novels and stories.
B. helps movies communicate directly to their audiences.
C. makes movies less realistic than other art forms.
D. tends to deaden the emotional impact of the narrative.
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10. Watching a movie on a videotape or disc
A. provides the same impact as seeing the film in theater.
B. generally makes analyzing the film more difficult because it downgrades the size and quality of the image.
C. is more satisfying than the theatrical experience because it is less expensive.
D. although not ideal, is rapidly gaining desirability.
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11. How does Aldous Huxley's classic novel Brave New World depict the film experience of the future?
A. As a political tool filled with propaganda
B. As an experience enhanced by devices that produce a tactile experience
C. As a vapid, colorless medium devoid of intelligence
D. As a method of linking minds together for telepathy
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12. Television viewing of films has traditionally compromised which aspect of theater viewing?
A. Image
B. Narrative
C. Sound
D. Attention to detail
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13. Film analysis should help the viewer
A. gain a high sociohistorical understanding of popular art.
B. intuitively grasp the film's overall meaning.
C. develop a love of the film medium even if there was none to begin with.
D. make definite conclusions about the film's meaning and value.
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14. A film's mood and treatment
A. tends to remain consistent across genres in order to match audience expectations.
B. is chiefly determined by cinematography.
C. can range from the lyric to the epic.
D. is usually simple and direct so as not to confuse the audience.
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15. Film analysis presupposes
A. that the film under consideration has been viewed by a wide audience.
B. the existence of a unified and rationally structured artistic whole.
C. collaboration by a great many individuals, each working on diverse aspects of production.
D. a directorial vision that is built around a universal theme.
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16. In point of view, a film
A. tends to remain very subjective in fiction narratives.
B. is often dictated by its theme.
C. is the most difficult element to understand when it is being analyzed.
D. can range from the purely objective to the intensely subjective.
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17. If a film is effective, a viewer should
A. have an intuitive grasp of its overall meaning.
B. understand the thematic intentions of the director.
C. be able to make determinations about its meaning that go beyond generalizations.
D. not need to view the film a second time for the purpose of analysis.
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18. Many experimental, underground, or unstructured films
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Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
, A. are movies that lend themselves to systematic critical analysis extremely well because of their plotless and purely
personal symbolism.
B. communicate effectively on a purely intuitive, subjective, or sensual plane.
C. are usually commercially viable despite their limited budgets and audiences.
D. are of value to film analysis as a counter example to traditional narrative.
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19. A benefit of learning how to analyze films involves
A. the sharpening of a viewer's critical judgments.
B. discovering how key decisions are made in the moviemaking process.
C. understanding the role of marketing in a movie's box-office success or failure.
D. a better understanding of often difficult and complex academic film theories.
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20. Analyzing a film generally means
A. judging whether or not the film will be commercially successful.
B. placing the film's theme in its appropriate sociological or historical context.
C. suppressing the visceral and emotional reactions to the film.
D. breaking up the whole film to discover the nature, proportion, function, and interrelationship of each of its important
parts.
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21. The two ingredients most likely to cause “over-response” reactions to a film are:
A. black-and-white imagery and subtitled foreign-language films.
B. complex plots and unhappy endings.
C. sex and violence.
D. slow pacing and unsympathetic characters.
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22. Like painting and photography, film exploits the subtle interplay of
A. time and space.
B. actions and gestures.
C. three-dimensional space.
D. light and shadow.
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23. Identify a true statement about film analysis.
A. It is inconceivable to appreciate a structured film without analysis.
B. It reduces film art to rational and manageable proportions.
C. It presupposes the existence of a unified and rationally structured artistic whole.
D. It captures the entire aesthetic value of a film.
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24. The primary originating force within cinematic art is the screenwriter.
TRUE
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25. It is not possible for moviegoers to become totally immersed in the experience of a film and also maintain a high degree
of objectivity and critical detachment.
FALSE
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26. If a person wishes to develop proper habits of analytically viewing a film, he or she should see a movie at least twice
whenever possible.
TRUE
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27. Film analysis reduces film art to rational and manageable proportions.
FALSE
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28. Film analysis can help in reaching a high level of understanding about films, a level where we are reflecting on the most
significant aspects of the film art as opposed to the merely mundane, the practical, and the technical.
TRUE
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Copyright © 2018 McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of
McGraw-Hill Education.
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