Archives

4 CHAPTER 1 ENCOUNTERING FILM: FROM PREPRODUCTION TO EXHIBITION KEY OBJECTIVES • List the ways the stages of filmmaking, from preproduction through production to postproduction, and explain how each stage informs what we see on the screen. • Describe how […]

105 CHAPTER 1 ENCOUNTERING FILM: FROM PREPRODUCTION TO EXHIBITION MULTIPLE-CHOICE QUESTIONS 1. Preproduction is A. before the cameras roll. B. when a project is in development. C. when funds are raised. D. when a crew is assembled. E. All of […]

132 CHAPTER 10 MOVIE GENRES: CONVENTIONS, FORMULAS:, AND AUDIENCE EXPECTATIONS MULTIPLE-CHOICE QUESTIONS 1. Fordism inspired Hollywood studios to A. create, again and again, many different modified versions of a popular movie. B. establish their association with specific genres. C. refine […]

62 CHAPTER 10 MOVIE GENRES: CONVENTIONS, FORMULAS, AND AUDIENCE EXPECTATIONS KEY OBJECTIVES • Understand why film genres attract audiences. • Describe the historical origins of film genres, and explain how they can change over time. • Define what conventions, formulas, […]

69 CHAPTER 11 READING ABOUT FILM: CRITICAL THEORIES AND METHODS KEY OBJECTIVES • Explain the concept of cinematic specificity. Introduce the method of formal analysis. • Describe the interdisciplinary nature of film and media studies. • Outline the major positions […]

135 CHAPTER 11 READING ABOUT FILM: CRITICAL THEORIES AND METHODS MULTIPLE-CHOICE QUESTIONS 1. The “imaginary” A. is one of three domains of psychic experience. B. deals in images. C. is rooted in the mirror stage. D. refers to psychoanalysis and […]

74 CHAPTER 12 WRITING A FILM ESSAY: OBSERVATIONS, ARGUMENTS, RESEARCH, AND ANALYSIS KEY OBJECTIVES • Describe the difference between reviews and critical essays. • Practice taking notes on films and how to organize those notes. • Choose a topic and […]

10 CHAPTER 2 HISTORY AND HISTORIOGRAPHY: HOLLYWOOD AND BEYOND KEY OBJECTIVES • Draw the broad outlines and periods of film history. • Explain global dimensions of film history, emphasizing the distinctive nature of different national cinemas as well as transnational […]

108 CHAPTER 2 HISTORY AND HISTORIOGRAPHY: HOLLYWOOD AND BEYOND MULTIPLE-CHOICE QUESTIONS 1. The “Biograph Girl” was A. Florence Lawrence.* B. Birt Acres. C. D. W. Griffith. D. Mary Pickford. E. None of the options is correct. The answer can be […]

19 CHAPTER 3 MISE-EN-SCÈNE: EXPLORING A MATERIAL WORLD KEY OBJECTIVES • Define “mise-en-scène” and identify how theatrical and other traditions affect the history of cinematic mise-en- scène. • Describe how sets and props relate to a film’s story. • Explain […]

111 CHAPTER 3 MISE-EN-SCÈNE: EXPLORING A MATERIAL WORLD MULTIPLE-CHOICE QUESTIONS 1. Mise-en-scène includes A. sets and setting. B. actors. C. aspects of lighting. D. props. E. All of the options are correct.* The answer can be found on p. 98. […]

114 CHAPTER 4 CINEMATOGRAPHY: FRAMING WHAT WE SEE MULTIPLE-CHOICE QUESTIONS 1. CinemaScope A. was used exclusively by director Nicholas Ray. B. is another name for Academy ratio. C. has an aspect ratio of 1.33:1. D. uses an anamorphic (or compressed) […]

26 CHAPTER 4 CINEMATOGRAPHY: FRAMING WHAT WE SEE KEY OBJECTIVES • Outline the development of the film image from an historical heritage of visual spectacles. • Describe how the frame of an image positions our point of view according to […]

33 CHAPTER 5 EDITING: RELATING IMAGES KEY OBJECTIVES • Understand the artistic and technological evolution of editing. • Examine the ways editing constructs different spatial and temporal relationships among images. • Detail the dominant style of continuity editing. • Identify […]

117 CHAPTER 5 EDITING: RELATING IMAGES MULTIPLE-CHOICE QUESTIONS 1. A scene is A. a model for sports montages. B. an identifiable motif, regardless of changes in space and time. C. a single length of film. D. one or more shots […]

39 CHAPTER 6 FILM SOUND: LISTENING TO THE CINEMA KEY OBJECTIVES • Explain the various ways sound is important to the film experience. • Describe how the use and understanding of sound reflect different historical and cultural influences. • Explain […]

120 CHAPTER 6 FILM SOUND: LISTENING TO THE CINEMA MULTIPLE-CHOICE QUESTIONS 1. A microphone suspended over the action outside of camera range on a device resembling a fishing pole is called A. a boom.* B. a clapboard. C. a sound […]

123 CHAPTER 7 NARRATIVE FILMS: TELLING STORIES MULTIPLE-CHOICE QUESTIONS 1. Character development can involve A. a physical alteration. B. changes from within. C. an improvement or advancement in some quality of the character. D. a loss of or return to […]

45 CHAPTER 7 NARRATIVE FILMS: TELLING STORIES KEY OBJECTIVES • Summarize the cultural ubiquity of storytelling in film. • Describe the different historical practices that create the foundations for film narratives. • Explain how film narratives construct plots that can […]

52 CHAPTER 8 DOCUMENTARY FILMS: REPRESENTING THE REAL KEY OBJECTIVES • Recognize that documentary films are best distinguished as cultural practices. • Describe how documentary films employ nonfictional and non-narrative images and forms. • Identify how documentary movies make and […]

126 CHAPTER 8 DOCUMENTARY FILMS: REPRESENTING THE REAL MULTIPLE-CHOICE QUESTIONS 1. Portapak is A. a lightweight 16mm camera. B. a portable direct-sound recorder.* C. video equipment. D. one of the most renowned “city symphony” documentaries. E. None of the options […]

57 CHAPTER 9 EXPERIMENTAL FILM AND NEW MEDIA: CHALLENGING FORM KEY OBJECTIVES • Describe experimental film and media as cultural practices. • Explain how experimental works make and draw on aesthetic histories. • Point out how these works explore the […]

129 CHAPTER 9 EXPERIMENTAL SCREENS: AVANT-GARDE FILM, VIDEO ART, AND NEW MEDIA MULTIPLE-CHOICE QUESTIONS 1. Who considered cinema the most important of the arts for the revolutionaries? A. Germaine Dulac B. Dziga Vertov C. Fernand Léger D. Vladimir Lenin* E. […]

1 INTRODUCTION STUDYING FILM: CULTURE AND EXPERIENCE KEY OBJECTIVES • Define film studies and film culture, and discuss the various factors that create and distinguish it. • Describe the role and impact of film viewers, and note how our experience […]

iv FILM AS AN ACADEMIC DISCIPLINE Film studies is something of an academic nomad. There are more freestanding film departments in colleges and universities every year, but it is important to acknowledge up front that introductory film studies courses may […]

80 VIDEO DISCUSSION QUESTIONS INTRODUCTION: STUDYING FILM: CULTURE AND EXPERIENCE FILM IN FOCUS: The 400 Blows In the final sequence of The 400 Blows, an extraordinarily long tracking shot of Antoine on the run concludes with a celebrated freeze frame. […]

© 2018 Bedford/St. Martin’s. All rights reserved. 2. Consider the voice-over in this sequence: “What’s the war in the heart of nature…. Is there an avenging power in nature?” What stands out as significant in the tone, accent, and volume […]