|
Which of the following is an element that the film editor does NOT manipulate? |
Mise-en-scène |
|
What was the central discovery of Lev Kuleshov? |
That two shots need not have any actual relationship to one another to affect the viewer. |
|
Which of the following constitutes a cinematic ellipsis? |
A cut between a shot of woman contemplating diving off the high-dive board and a shot of her emerging from the water. |
|
What is "montage" in the Hollywood sense of the word? |
A sequence of shots, often with superimpositions and optical effects, that shows a condensed series of events. |
|
How does an editor control the rhythm of a film? |
By varying the duration of the shots in relation to one another and thus controlling their speed and accents. |
|
What is the ultimate goal of continuity editing? |
To communicate the story as clearly, efficiently, and coherently as possible. |
|
What are the fundamental building blocks of continuity editing? |
Master shots and the 180-degree system. |
|
Why are establishing shots particularly important for continuity editing? |
Because they orient the viewer in preparation for the shots that follow. |
|
Where must the camera be placed in relation to the axis of action? |
On one side and one side only of the axis of action. |
|
Which of the following demonstrates a violation of the 180-degree system? |
In an action scene featuring one car chasing another, two separate shots capture first car A and then car B from different sides of an imaginary line between them. |
|
Which of the following is an example of a shot/reverse shot editing sequence? |
A shot of a character and then a shot of another character who is facing the first. |
|
Which of the following constitutes an eye-line match cut? |
A shot of a character looking offscreen and then a shot of the object that character is looking at. |
Share This
Flashcard
