Mr. Purr
Lit. and Film
Name _____________________
Mahopac High School
Movies and Meaning
Chapter One Exam
Multiple Choice
1. Which of the following is not an element of film structure? a. sound b. theme c. editing d. e. production design narrative
2. Chaplin effectively conveyed the emotions of his characters by carefully employing a. b. camera position camera angle c. d. camera movement camera lens
3. In Psycho and Shadow of a Doubt, Hitchcock's high camera angles a. are used to confuse the viewer about the story events taking place, thereby b. c. d. heightening suspense (which is based on uncertainty about the probable outcome of events) give the viewer a sweeping, panoramic view of the action, making the story easier to follow tend to play against the viewer's desire for close involvement with the characters are used as establishing shots to introduce the overall layout of a scene
4. The greatest depth of field is captured by a a. telephoto lens b. normal lens c. d. a. b. zoom lens wide-angle lens
5. Which of the following is not true about a zoom lens?
Zooming in will magnify distant objects
The zoom lens permits a filmmaker to shift from wide-angle to telephoto perspectives within a shot c. d.
The zoom lens supplies motion perspective
The zoom lens creates the appearance of camera movement
6. Some filmmakers prefer particular focal lengths. An example of a director who prefers wide-angle lenses is a. b. c.
Orson Welles
Akira Kurosawa
Alfred Hitchcock

a. b. c. d. d. Charles Chaplin
7. If a filmmaker wished to add visual energy to a scene by capturing a character's rapid motion in an exciting way, the filmmaker should employ a pan shot tilt shot tracking shot boom shot
8. The perception of apparent motion on screen is most closely related to the factor of a. beta movement b. c. d. persistence of vision flicker fusion intermittent motion
9. The elements of film structure a. tend to differ from, or transform, the viewer's real-world visual and social experience b. c. tend to correspond with the viewer's real-world visual and social experience tend to both transform, as well as correspond with, the viewer's real-world visual and social experience d. have little or no relation to the viewer's real-world experience because cinema is based on an illusion of motion and three-dimensions
10. Chaplin's formula for guiding his camera placements can be stated as: a. b. c. use of a moving camera to follow motion high angle for comedy, eye-level angle for drama d. long shot for drama, close-up for comedy long shot for comedy, close-up for tragedy
11. A filmmaker who frequently used camera position to play against the viewer's desire a. b. c. d. for emotional involvement with the reaction of a character is
Charlie Chaplin
Orson Welles
Alfred Hitchcock
Oliver Stone
12. Hitchcock's most influential film was a. b. c.
Psycho
Rear Window
North by Northwest
Frenzy d.
13. This lens will produce a very small angle of view a. wide-angle b. telephoto

a. b. c. d. c. d. normal none of the above
14. The famous shot in Gone with the Wind where the camera moves up to a high angle to show a large group of wounded and dead soldiers at the railroad station is an example of a tilt dolly pan crane
15. Cinematography occurs during the filmmaking stage of a. pre-production b. post-production c. d.
16. The chief artistic authority of a film production generally resides with the a. b. c. d. production pre-visualization producer director editor the production team as a whole
17. This camera angle is often used to make the world look off-kilter or to express a character's anxiety or disorientation a. b. c. low high d. bird's eye canted
18. The area within the frame from foreground to background that remains in focus is the a. b. c. d. area of view angle of view area of focus depth of field
19. To make objects on screen seem closer to the camera than they really are, a filmmaker would use a. b. c. a wide-angle lens a telephoto lens a normal lens a magnifying lens d.
20. This lens often facilitates the staging of stunts: a. a wide-angle lens b. a telephoto lens

c. d. a normal lens a magnifying lens
21. This filmmaker is often credited with discovering the artistic potential of the moving camera: a. Orson Welles b. c.
Alfred Hitchcock
Charles Chaplin d. F.W. Murnau
22. Steven Spielberg and his cinematographer on Saving Private Ryan used some unusual filmic techniques, including all of these EXCEPT a. flashing b. ENR c. d.
23. "Virtual cinematography" in The Matrix consisted of creating an illusion of a. b. c. d. mixing black and white with color film lenses that had been stripped of their protective coating depth of field camera movement camera angle telephoto perspective
24. On A.I.: Artificial Intelligence, Steven Spielberg and cinematographer Janusz
Kaminski used cool colors and wide-angle lenses to evoke the style of this director, who had originally planned to make the film: a. Steven Soderbergh b. Orson Welles c. d.
Essay
Alfred Hitchcock
Stanley Kubrick
Answer two of the following :
1. Explain the concept of film structure and the role of the director in relation to the task of structural design.
2. What is aspect ratio, and what happens when widescreen ratios must be reformatted for television?
3. Explain the different optical characteristics of telephoto and wide-angle lenses.
4. How does cinema correspond with, and transform, the viewer's real-world visual and social experience?
5. What are the characteristics of pan and tilt shots, tracking shots and crane shots?