Chapter 01
Film as Art
Multiple Choice Questions
1. Which of the following is NOT one of the modes of production?
2. A “work print” is
3. “Critical flicker fusion” is
4. The process of previsualization (also called “previs”)
5. “Gauge” refers to what quality of the film strip?
6. A preliminary synopsis of a film’s action is called a
7. Which of these is NOT a standard width for film strips?
8. A “master shot” is
9. During shooting, separate shots are made “out of continuity,” which means that they are created
10. Ancillary markets are
11. The “aspect ratio” of a film refers to
12. The “rental” is
13. To maximize income from consumers, distributors time their tentpole theatrical releases according to
14. A “slate” (also called a “clapboard”) is
15. Amos Poe and Maya Deren are
16. “Style” refers to
17. An “optical sound track”
18. Which of the following is NOT an example of a “special version” of a film?
19. When small-scale production becomes “collective” production,
20. A film that assembles existing images or archival footage, such as newsreel footage or television footage, is called
21. The six major Hollywood distributors account for what portion of theater ticket sales in the United States?
22. What is the term for the total box office receipts generated by a film?
23. Which of the following is NOT an example of a “tentpole” film?
A. The Dark Knight
24. How did The Blair Witch Project affect film distribution?
D. It discouraged distributors from using social-networking Internet sites.
25. Manufacturing companies that buy the rights to use a film’s characters, title, or images on their products are engaging in
26. Which of the following is an example of a “nontheatrical exhibition”?
A. A film festival
27. After commercial movie houses, the most important theatrical venue is
A. film clubs at universities.
28. When did supplements become part of the filmmaking process?
A. When filmmaking began
29. Filmmaking is a long process that from beginning to end requires
D. comprehensive distribution.
30. Exhibition factors, such as image size, may affect a filmmaker’s
A. production schedule.
31. A strip of film consists of base and emulsion.
32. It is not yet possible to use digital sound tracks for films.
33. Computer-generated imagery has done away with the need for making miniatures and models for special effects.
34. A storyboard is a series of drawings of the shots planned for a film.
35. To save money, most directors try to shoot only one take of each shot.
36. A film’s direct sound is recorded optically during filming and then later transferred onto magnetic tape.
37. A typical independent film has about the same budget as a studio production.
38. Small-scale production is common in documentary filmmaking.
39. The French term auteur originally referred to Hollywood directors who had a distinctive approach to filmmaking while still
working within the Hollywood studio system.
40. Western Europe by far has the most lucrative theatrical market.
41. Michael Mann and his cinematographers decided to shoot much of the film Collateral on high-definition digital cameras in
part because of their high sensitivity to light.
42. A studio pursuing a platforming strategy will open a film at the same time in many cities and towns.
43. By selling movies as online downloads or by allowing viewers to rent them as streaming video, production companies
reduced the cost of making DVD discs.
44. A film’s musical track is typically composed during the preproduction phase.
45. In block booking, an exhibitor is forced to rent a package of films in order to get a few desirable ones.
46. The “gaffer” is the head electrician working with lighting.
47. Modern publicity methods mean that “word of mouth” such as via social media seldom affects a film’s success.
48. A film’s composer writes the entire score and always orchestrates it personally.
49. Centralized studio production has declined as giant film companies have largely become distribution companies.
50. Most films earn profits in theatrical release.
51. Explain why the director is the person most commonly viewed as the “author” of a film.
52. Discuss how the choices made by a director, such as in Mann’s Collateral, help to shape the style of a film.
53. In what ways are digital motion-picture cameras similar to traditional 35mm cameras? With respect to the differences, what
are the advantages that some filmmakers see in using digital motion-picture cameras?
54. In what ways has the development of online movie downloads and online film rental companies such as Netflix
revolutionized distribution?
55. What is DIY filmmaking, and how has the introduction of consumer and prosumer digital cameras and affordable computing
affected the making of these types of films?
