Film Exam Prep

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Film Exam Prep - Quiz

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Questions and Answers
  • 1. 

    When we look at elements of the mise-en-scene, we are:

    • A.

      Examining implicit meaning.

    • B.

      Analyzing form.

    • C.

      Going beyond viewers’ expectations.

    • D.

      Searching for a subtext.

    Correct Answer
    B. Analyzing form.
  • 2. 

    The two images above exist in a relationship that can be described as:

    • A.

      Quotation.

    • B.

      Intertextual reference.

    • C.

      Similar mise-en-scene.

    • D.

      All of the above.

    Correct Answer
    D. All of the above.
  • 3. 

    An approach that reads those two images in relation to one another:

    • A.

      Is dependent on the filmmaker's intentions.

    • B.

      Focuses on the expectations of audience.

    • C.

      Focuses on reading practices and media literacy.

    • D.

      Is contextual.

    Correct Answer
    C. Focuses on reading practices and media literacy.
  • 4. 

    The choreography of characters in this shot contains the women on the porch. The result is:

    • A.

      The shot implicitly aligns itself with the ideology of the Western that the West is not safe for women and children.

    • B.

      The women are better lit, resulting in a naturalistic effect.

    • C.

      A visually symmetric, and therefore balanced and interesting frame.

    • D.

      A sense that in this film women will be the main protagonists.

    Correct Answer
    A. The shot implicitly aligns itself with the ideology of the Western that the West is not safe for women and children.
  • 5. 

    The two frames from the shot in Once Upon a Time in the West exemplify how mise-en-scene embodies:

    • A.

      Plot information about the feast organized in the remote farm.

    • B.

      The Western’s obsessions with binaries such as nature/culture, wilderness/civilization.

    • C.

      Montage conveying gender tensions (gun and girl).

    • D.

      A perfect example of verisimilitude.

    Correct Answer
    B. The Western’s obsessions with binaries such as nature/culture, wilderness/civilization.
  • 6. 

    Crampton and Power quote Der Dorian (p. 245) who discusses virtual and virtuous wars. In your mind, video games such as Call of Duty set themselves as promoting a sense of:

    • A.

      Virtual war.

    • B.

      Virtuous war.

    • C.

      Both virtual and virtuous war.

    • D.

      Neither.

    Correct Answer
    C. Both virtual and virtuous war.
  • 7. 

    According to Crampton and Power Saving Private Ryan was perceived to be an authentic representation of WWII. Based on the lecture and reading it seems that audiences:

    • A.

      Confuse realistic style with authenticity.

    • B.

      Are overwhelmed by the documentary qualities of the film.

    • C.

      Find death at war to be glorified due to the gory naturalistic portrayal.

    • D.

      Cannot discern between explicit and implicit meanings.

    Correct Answer
    A. Confuse realistic style with authenticity.
  • 8. 

    Both Saving Private Ryan and Inglourious Basterds focus explicitly on WWII. However, it could be argued that implicitly, and more specifically, ideologically:

    • A.

      Inglourious Basterds has the preoccupations of a Western.

    • B.

      Saving Private Ryan should be considered a Vietnam era film.

    • C.

      Both films don’t glorify the war, and as such are a unique evolution of the genre.

    • D.

      Both films reflect the preoccupations of current wars, especially The Second Gulf War.

    Correct Answer
    D. Both films reflect the preoccupations of current wars, especially The Second Gulf War.
  • 9. 

    The mise-en-scene of these two shots:

    • A.

      Reverses traditional association of high/low camera angle.

    • B.

      Simply represents the height and position of each character.

    • C.

      Implies that the German colonel will loom over the rest of the film.

    • D.

      Mocks Lt. Aldo Raine.

    Correct Answer
    A. Reverses traditional association of high/low camera angle.
  • 10. 

    The image above ties the iconography of Inglourious Basterds to:

    • A.

      WWII film genre.

    • B.

      Contemporary War genre.

    • C.

      Italian Neorealism.

    • D.

      Spaghetti Western.

    Correct Answer
    D. Spaghetti Western.
  • 11. 

    Which of the following terms does not belong with the others?

    • A.

      Colonialism

    • B.

      Imperialism

    • C.

      Euro-centrism

    • D.

      All of those terms are strongly related to each other.

    Correct Answer
    D. All of those terms are strongly related to each other.
  • 12. 

    Which of the following terms does not belong with the others?

    • A.

      Colonialism

    • B.

      Communism

    • C.

      Capitalism

    • D.

      Neo-colonialism

    Correct Answer
    B. Communism
  • 13. 

    What is unique about the mise-en-scene of this shot?

    • A.

      The violence is staged up front and centre.

    • B.

      Lt. Aldo Rainer is eating while someone dies.

    • C.

      The frame is asymmetrical, therefore dynamic.

    • D.

      The 180 degree rule is broken.

    Correct Answer
    A. The violence is staged up front and centre.
  • 14. 

    The mise-en-scene of this shot is designed to:

    • A.

      Provide a bird’s eye point of view of the events.

    • B.

      Compare war with entertainment in ancient Rome.

    • C.

      Allow psychological distance from the violence taking place.

    • D.

      Foreground the notion the Basterds are operating in a wilderness.

    Correct Answer
    B. Compare war with entertainment in ancient Rome.
  • 15. 

    Kristof Haavik argues that Black Robe takes a position about the debate between Aboriginal and Christian beliefs. What does the film conclude (according to Haavik)?

    • A.

      The film promotes the epistemic point of view of Father Laforgue (since he baptizes the Hurons).

    • B.

      It establishes a diabolic binary between the two religions (as both sides seem to lose in the end).

    • C.

      Black Robe affirms aboriginal spirituality (because Chomina’s dream comes true).

    • D.

      It humanizes both positions, trying to bridge the cultural gaps (hence the baptism scene).

    Correct Answer
    C. Black Robe affirms aboriginal spirituality (because Chomina’s dream comes true).
  • 16. 

    Which of the following is not part of point of view (POV)?

    • A.

      A view from a character’s physical perspective

    • B.

      A view from a character’s psychological perspective

    • C.

      A view from a character’s epistemological perspective

    • D.

      An omniscient view (a bird’s eye view)

    Correct Answer
    D. An omniscient view (a bird’s eye view)
  • 17. 

    The two frames above are taken from the scene in which Laforgue is lost in the forest. They both use a similar mise-en-scene, and they cut on a continuing panning movement. The article claims that the juxtaposition of these two shots is done in order to:

    • A.

      Introduce a parallel narrative framework.

    • B.

      Create a visual argument about the value of Aboriginal civilization.

    • C.

      Show God’s omnipresence in Laforgue’s consciousness.

    • D.

      Present Laforgue’s flashback as he fears death.

    Correct Answer
    B. Create a visual argument about the value of Aboriginal civilization.
  • 18. 

    The send-off ceremony scene at the beginning of Black Robe creates a parallel between Jesuit and Algonquin cultures by:

    • A.

      Using eye-line match cutting between Champlain and Chomina.

    • B.

      Relying on Daniel’s POV to tell the story.

    • C.

      Constructing jump-cuts to accentuate the cultural differences.

    • D.

      Using crosscutting as the two communities prepare for the ceremony.

    Correct Answer
    D. Using crosscutting as the two communities prepare for the ceremony.
  • 19. 

    Who is the main character/authority in Black Robe?

    • A.

      Father Laforgue

    • B.

      Daniel

    • C.

      Chomina

    • D.

      Unlike Dances With Wolves, there is not one perspective that is prioritized.

    Correct Answer
    D. Unlike Dances With Wolves, there is not one perspective that is prioritized.
  • 20. 

    The implication of scenes such as the puppy and gramophone in Nanook of the North is:

    • A.

      The Inuit people are uncivilized.

    • B.

      The Inuit people are brutal savages.

    • C.

      Flaherty was intimately connected with his subjects.

    • D.

      We have ethnographic evidence as to the life of Inuits in the 1920s.

    Correct Answer
    A. The Inuit people are uncivilized.
  • 21. 

    The proponents of Realist cinema in the 1940s refrained from relying on:

    • A.

      The mimetic tendencies of the camera.

    • B.

      Long takes of continuous action.

    • C.

      Montage editing.

    • D.

      Naturalistic mise-en-scene.

    Correct Answer
    C. Montage editing.
  • 22. 

    The scene where Mathieu is looking with binoculars onto the Casbah exemplifies:

    • A.

      Virilo’s theory of the virtual war.

    • B.

      Reflexivity.

    • C.

      Harrison’s thesis about mise-en-abyme.

    • D.

      Neorealist design.

    Correct Answer
    A. Virilo’s theory of the virtual war.
  • 23. 

    Which of the film clips shown in class belongs to the studio system?

    • A.

      His Girl Friday

    • B.

      Dances with Wolves

    • C.

      The English Patient

    • D.

      Bicycle Thief

    Correct Answer
    A. His Girl Friday
  • 24. 

    Italian Neorealism came about as an aesthetic form of criticism, or as an alternative, to:

    • A.

      Documentary aesthetics.

    • B.

      The studio system.

    • C.

      Colonialist ideology in film.

    • D.

      Formalist film.

    Correct Answer
    B. The studio system.
  • 25. 

    What is common to the arguments of both Haavik and Harrison?

    • A.

      They both outline a problematic colonialist history, that the film’s drama avoids touching upon.

    • B.

      They both focus on Orientalist practices in the films discussed.

    • C.

      Each argues against the anti-colonialist style of the film, claiming it defeats the film’s purpose.

    • D.

      They base their analysis on the problematic relations between realism as a style, and historical facts.

    Correct Answer
    D. They base their analysis on the problematic relations between realism as a style, and historical facts.
  • 26. 

    Barsam and Monahan argue that the mise-en-scene of a film:

    • A.

      Is subordinated to the realist demands on cinema.

    • B.

      Sometimes overwhelms the narrative.

    • C.

      Needs to be servicing the narrative demands of the film.

    • D.

      Builds design and composition in conflicting relations.

    Correct Answer
    B. Sometimes overwhelms the narrative.
  • 27. 

    In this scene the mise-en-scene is organized to:

    • A.

      Emphasize the sexist attitude of the soldiers at the checkpoint .

    • B.

      Highlight the woman’s masquerade as French.

    • C.

      Demonize the woman as a cold-hearted terrorist.

    • D.

      Show the surveillance techniques of the French.

    Correct Answer
    B. Highlight the woman’s masquerade as French.
  • 28. 

    Orientalism is:

    • A.

      Fields of scientific study of the Orient (such as archeology, ethnography, history).

    • B.

      A form of stereotyping targeting people from the Orient.

    • C.

      A critical look at the relationship between researcher and his/her subjects.

    • D.

      Both A and B.

    • E.

      Both A and C.

    Correct Answer
    E. Both A and C.
  • 29. 

    What is common to Inglourious Basterds and The Battle of Algiers?

    • A.

      They both use mise-an-abyme.

    • B.

      They are both reflexive films.

    • C.

      They both rely on non-diegetic music to enhance emotional impact.

    • D.

      All of the above

    Correct Answer
    D. All of the above
  • 30. 

    Barsam and Monahan would describe this form of mise-en-scene (from Bicycle Thief) as:

    • A.

      Meticulous design.

    • B.

      Staging in the studio.

    • C.

      Composition using a location setting.

    • D.

      They would argue this type of cinematography should not be considered mise-en-scene.

    Correct Answer
    C. Composition using a location setting.
  • 31. 

    Ajami belongs to the following genre(s):

    • A.

      Neorealism

    • B.

      Hyperlink film

    • C.

      Documentary

    • D.

      Both A and B

    • E.

      Both A and C

    Correct Answer
    D. Both A and B
  • 32. 

    What is the relationship between narrative and plot?

    • A.

      They are different names for the same concept.

    • B.

      They are different aspects of the story.

    • C.

      The plot is the linear trajectory of a film, the narrative a post-viewing product.

    • D.

      Narrative relates to cinematic elements (such as mise-en-scene, editing, etc.), while plot relates to the content.

    Correct Answer
    C. The plot is the linear trajectory of a film, the narrative a post-viewing product.
  • 33. 

    The mise-en-scene of the torture scene is designed to:

    • A.

      Enhance our sense that Barnes is a hero who withstands torture.

    • B.

      Designate Barnes’ ruin as an aging man, and as a CIA agent.

    • C.

      Demonize the Arabs in the film in general.

    • D.

      Show us that Barnes is fluent in Arabic.

    Correct Answer
    B. Designate Barnes’ ruin as an aging man, and as a CIA agent.
  • 34. 

    The storyline of Wassim Khan in Syriana is a good example of:

    • A.

      An approach that ties Khan’s radicalization to economic deprivation.

    • B.

      A typical Western media approach that ties terrorism and Islam.

    • C.

      An Orientalist sub-plot unrelated to the main plot of the film.

    • D.

      A good example of “blow-back."

    Correct Answer
    A. An approach that ties Khan’s radicalization to economic deprivation.
  • 35. 

    Following Camolli and Narboni we can argue that Syriana is:

    • A.

      A film that is political in content but not in form.

    • B.

      A film that is only superficially political in content.

    • C.

      A film that is political in both content and form.

    • D.

      A typical Third Worldist film.

    Correct Answer
    C. A film that is political in both content and form.
  • 36. 

    Which of the characters in Syriana ends up surprising audiences by revealing information that he knew all along, and the audience did not suspect?

    • A.

      Bob Barnes (George Clooney- the a CIA agent in Iran, Lebanon, and Saudi Arabia)

    • B.

      Bryan Woodman (Matt Damon as the oil consultant to Saudi prince Nassir)

    • C.

      Bennett Holiday (Jeffrey Wright as he investigates oil companies merge)

    • D.

      Wassim Khan (Mazhar Munir the an unemployed Pakistani in Saudi Arabia)

    Correct Answer
    C. Bennett Holiday (Jeffrey Wright as he investigates oil companies merge)
  • 37. 

    David Gregory argues that Syriana and Why We Fight expose the real interests of the United States in the Middle East as:

    • A.

      An economic interest in oil.

    • B.

      An imperialist attempt to convert the Middle East to the “American way of life.”

    • C.

      An Orientalist tendency towards the Other .

    • D.

      To find an enemy for the Militarized Industrial complex.

    Correct Answer
    A. An economic interest in oil.
  • 38. 

    Barsam and Monahan identify lighting as an important aspect of mise-en-scene, which is decided upon by:

    • A.

      The cinematographer shooting the film.

    • B.

      The director, as he is overall responsible for the look of the film.

    • C.

      The gaffer who lights the scene.

    • D.

      The storyboard artists in the pre-production.

    Correct Answer
    D. The storyboard artists in the pre-production.
  • 39. 

    Hyperlink narratives share a tendency to:

    • A.

      Rely heavily on computer graphics.

    • B.

      Present a story without a beginning or an end.

    • C.

      Present parallel stories that don’t merge into one climax.

    • D.

      Are interactive films that can be screened only on computers.

    Correct Answer
    C. Present parallel stories that don’t merge into one climax.
  • 40. 

    In designing the character of Bob Barnes, George Clooney forms a critique of American values utilizing:

    • A.

      His own star aura as a super capable male.

    • B.

      A view of ruined and aging masculinity.

    • C.

      A sober presentation of an amoral CIA agent.

    • D.

      All of the above.

    Correct Answer
    D. All of the above.
  • 41. 

    Barsam and Monahan claim that films like Bicycle Thief are a good example of:

    • A.

      Lack of mise-en-scene (since they are shot on location).

    • B.

      A masterful choreography of real spaces, rather than studio space.

    • C.

      Expressionist European films.

    • D.

      Deliberate use of costume, makeup and hairstyle.

    Correct Answer
    B. A masterful choreography of real spaces, rather than studio space.
  • 42. 

    Maria Pramaggiore’s reading of 11’09”01- September 11th focuses primarily on which cinematic aspect?

    • A.

      Editing

    • B.

      Mise-en-scene

    • C.

      Cinematography

    • D.

      Sound design

    Correct Answer
    D. Sound design
  • 43. 

    News media reporting of the September 11th 2001 attacks needs to be understood as reflecting a relationship between:

    • A.

      Entertainment industries and political events.

    • B.

      Responsible journalism and jaded opinions.

    • C.

      Documentary film and onsite reporting.

    • D.

      Truth and ideology

    Correct Answer
    A. Entertainment industries and political events.
  • 44. 

    In Fahrenheit 911 Michael Moore chooses to keep the screen black during the time the towers are coming down because:

    • A.

      He wants to be respectful to the victims (which news outlets weren’t).

    • B.

      He wants us to focus on sound so we identify with the victims.

    • C.

      He is breaking away from iconic representations of the event.

    • D.

      All of the above

    Correct Answer
    D. All of the above
  • 45. 

    One difference between Moore’s Fahrenheit 911 and Hijacking Catastrophe is:

    • A.

      The former relies on narrative conventions, the latter on documentary ones.

    • B.

      Moore has a villain to crucify, while Earp and Jhally criticize a system/ideology.

    • C.

      Moore inserts himself as the protagonist/focalizer, while Earp and Jhally are missing from their film.

    • D.

      All of the above

    Correct Answer
    D. All of the above
  • 46. 

    The late 20th century saw a shift in cultural criticism:

    • A.

      From formalism to structuralism.

    • B.

      From postmodernism to identity politics.

    • C.

      From analyzing icons to studying signs (semiotics).

    • D.

      From focus on the author to focus on reception.

    Correct Answer
    D. From focus on the author to focus on reception.
  • 47. 

    In 09’11”01- September 11th Ken Loach’s film segment is unique because:

    • A.

      It is the only film identified as originating from one country (United Kingdom) but its plot takes place in another (Chile).

    • B.

      It reminds viewers that there was another important September 11th in history, when the U.S. backed coup d’etat in Chile ousted the democratically elected Salvador Allende.

    • C.

      It is the most experimental film in the group.

    • D.

      It exemplifies the City Symphony approach as Prammagiore describes it in her article.

    Correct Answer
    B. It reminds viewers that there was another important September 11th in history, when the U.S. backed coup d’etat in Chile ousted the democratically elected Salvador Allende.
  • 48. 

    In 09’11”01- September 11th Lelouch and Penn’s films were criticized by the Village Voice for:

    • A.

      Using the Sept 11th tragedy as a backdrop for their narratives.

    • B.

      Being too experimental and difficult to understand.

    • C.

      Using iconic representations of the tragedy in stereotypical ways.

    • D.

      A sharp disjunction between image and sound.

    Correct Answer
    A. Using the Sept 11th tragedy as a backdrop for their narratives.
  • 49. 

    The mise-en-scene of the two images above is designed to:

    • A.

      Emphasize the gap between sound and image tracks in the films.

    • B.

      Present the main character slightly “off centre” but prominently.

    • C.

      Enunciate the “glocal” nature of the films.

    • D.

      Be reflexive, to remind us of the mediated nature of the event.

    Correct Answer
    D. Be reflexive, to remind us of the mediated nature of the event.
  • 50. 

    Open and closed frames refer to:

    • A.

      Narratives with or without closure.

    • B.

      Realism and formalism respectively.

    • C.

      Composition that draws attention “off-screen” or “on screen.”

    • D.

      The use of different grounds to achieve or restrict depth of field.

    Correct Answer
    B. Realism and formalism respectively.

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Our quizzes are rigorously reviewed, monitored and continuously updated by our expert board to maintain accuracy, relevance, and timeliness.

  • Current Version
  • Dec 04, 2019
    Quiz Edited by
    ProProfs Editorial Team
  • Dec 20, 2011
    Quiz Created by
    Chorzel

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