Chapter 04
The Shot: Mise–en-Scene
1. Which of the following is NOT considered part of a shot’s mise-en-scene?
2. A major example of a nonrealistic and expressionistic set design is
3. The system of lighting widely used in classical Hollywood filmmaking is known as
4. Which of the following is NOT a term for a type of directional lighting?
5. Which of the following is NOT a type of lighting in the three-point lighting system?
6. According to Film Art, a film actor’s performance style is most affected by
7. “Frontality” of staging means that
8. Which of the following is NOT a motif in the mise-en-scene in Buster Keaton’s Our Hospitality?
9. Georges Méliès was
10. Stop-action involves
11. Aerial perspective suggests depth by
12. Size diminution suggests depth by
13. Film scholars use the term mise-en-scene to describe the director’s control over
14. In a film, a “highlight” refers to
15. A “prop” is an object in the setting that
16. Frontal lighting has a tendency to
17. The aspect of lighting that refers to the relative intensity of illumination is called
18. When filmmakers choose to control lighting, they typically use
19. In a film, when actors engage in conversation, they usually
20. In classical Hollywood, an actor who was typecast
21. “Performance capture” focuses on filming
22. The easiest way for a filmmaker to achieve compositional balance is to
23. Which of the following is NOT a way in which a film suggests volume in a space?
24. Depth cues that create the illusion of depth requiring input from only one eye are
25. In shallow-space composition, the closest and most distant planes appear
27. Which of the following is NOT a term used to describe how far away from the camera a plane is?
28. Movement is an important depth cue because it suggests
29. When a filmmaker employs a limited palette, he or she uses
30. The term key light refers to
31. The two most basic types of light in a scene are the key and the rim.
32. Georges Méliès’s “Star-Film” studio was designed to give him control over every aspect of mise-en-scene.
33. Animated films, like live-action films, have mise-en-scene.
34. Unplanned events that are filmed by accident are not part of the mise-en-scene of a shot.
35. Marlon Brando’s performance in On the Waterfront was considered a major example of realistic acting in its day.
36. Films shot in the studio have mise-en-scene, whereas films made entirely on location do not.
37. “Fill” light is used to create deep shadows.
38. “Edge” lighting is a type of backlighting used to make characters stand out against a background.
39. In Hollywood studio filmmaking, the lights are kept in the same position throughout a scene, no matter where the camera
is placed.
40. “High-key” lighting is typical of Hollywood filmmaking.
41. Soft, high-key lighting is associated with mystery stories, crime films, and filmsnoir.
42. According to Film Art, realism is the most useful standard for evaluating actors’ performances.
43. Since the advent of sound, it is less important for actors to use their eyes, brow, and mouth to express character emotions.
44. German Expressionist films, such as The Cabinet of Dr. Caligari, are characterized by realistic mise-en-scene and subtle,
psychologically based acting.
45. “Warm” colors tend to attract the spectator’s eye more than “cool” colors.
46. When balancing the shot, filmmakers assume that the viewer will concentrate on the lower half of the projected frame.
47. Most of the gags in Our Hospitality depend on shallow-space compositions.
48. Setting plays a less significant role in the cinema than it does in the theater.
49. “Hard” lighting reveals well-defined shadows and crisp textures.
50. Discuss the problems with using realism as a criterion for evaluating films, giving specific examples from any of the
films shown for this class.
51. Select a moment from a highly-regarded film such as Silence of the Lambs or Jerry Maguire and discuss how meaning is
conveyed through the actor’s physical self.