created by: GERM!

FALL SEMESTER 2010

QUIZ 4 - Questions & Answers


Q1.) In Sergei Eisenstein’s Battleship Potemkin (1925), what technique was used to stretch out the plot duration of the famous “Odessa Steps” sequence?

--A1. EDITING

Q2.) Related to duration and setting is_________—the overall range, in time and place, of a movie’s story.

--A2. SCOPE

Q3.) Who is a character that opposes the protagonist and is usually considered the bad guy?

--A3. ANTAGONIST

Q4.) _________ is the amount of time that the implied story in a film takes to occur.

--A4. STORY DURATION

Q5.) In Stagecoach (1939) John Ford establishes and reinforces ideological and emotional differences by alternating between ________.

--A5. SHOTS FROM AN OMNISCIENT POINTS OF VIEW AND SHOTS FROM EACH CHARACTER'S POINT OF VIEW

Q6.)  A critical part of the challenge and enjoyment of interpreting a movie is figuring out characters’ _________.

--A6. MOTIVATIONS

Q7.) What do we call the part of a movie that is the time and place in which the story occurs?

--A7. SETTING

Q8.)  How is the radical plot order that Orson Welles used in Citizen Kane (1941) now regarded?

--A8. AS CONVENTIONAL

Q9.)  Because it is less common than summary, the ________ is often used to highlight a plot event.

--A9. STRETCH RELATIONSHIP

Q10.) Why is the dialogue in foreign language films more often than not shown to English-speaking audiences with subtitles instead of with rerecorded voices?

--A10. EXPENSE

Q11.) Who first outlined the fundamentals of narrative theory that exist even today?

--A11.) ARTISTOLE

Q12.)  During the preproduction phase, the story is referred to as the _______ and may be an idea, outline, or completed script that the writer has “pitched” to the producer.

--A12. PROPERTY

Q13.)  Characters, another essential element of film narrative, play what kind of roles in terms of the plot?

--A12. FUNCTIONAL

Q14.)  Who are professional screenwriters that are hired to review a screenplay and improve it?

--A14. SCRIPT DOCTORS

Q15.) During a story conference the treatment is transformed from an outline into a ________.

--A15. ROUGH-DRAFT SCREENPLAY

Q16.) Some movies leave extremely eccentric actions unmotivated, so that they will be understood as representing ________.

--A16. VERY DISTRIBUTED CHARACTERS

Q17.) What do we call the events in the story of Michael Curtiz’s Casablanca (1942) that involve Rick’s determination to help Victor Laszlo escape?

--A17. PLOT

Q18.) The more movies we have seen, the better we are able to creatively anticipate ________.

--A18. THE MANY DIRECTIONS THAT A MOVIE MIGHT TAKE

Q.19) What word literally means telling a story?

--A19. NARRATION

Q20.)  One of the social themes of John Ford’s Stagecoach (1939) is ________, a term used to explain that the territorial expansion of the United States was both inevitable and ordained by God.

--A20. MANIFEST DESTINY

Q21.) What do you call a director who is also the screenwriter?

--A21. AN AUTEUR

Q22.) What kind of narrations occurs when a character breaks the “fourth wall”?

--A22. DIRECT-ADDRESS

Q23.) Because narrative is form, we need to look as closely at how movies tell their stories as we look at ________ within the stories.

--A23. WHAT HAPPENS

Q24.) Once the shooting script has been developed, what does the director, along with the other key members of the team, determine?

--A24. HOW TO SHOOT

Q25.) What is the term that describes a shot-by-shot breakdown that combines sketches or photographs of how each shot should look and contains written descriptions of the other elements?

--A25. STORYBOARD

Q26.)  What film was ranked number one on the Writers Guild of America (West) list of the 101 greatest screenplays?

--A26.  CASABLANA (1942)

Q27.) One of Ford’s persistent beliefs is that civilization occurs as a result of a genuine community built in the wilderness through ________ values.

--A27. HEROISM AND SHARED

Q28.) What lists the details of each shot and can thus be followed by the director and actors during filming?

--A28. SHOOTING SCRIPT

Q29.) At its simplest level, a movie’s ________ is the telling of its story.

--A29. NARRATIVE

Q30.) The process of the actor’s interpreting a character in a movie is known as_________.

--A30. CHARACTERIZATION

Q31.) In ________, screen duration corresponds directly to plot duration.

--A31. REAL-TIME

Q32.) A critical part of the challenge and enjoyment of interpreting a movie is figuring out characters’ _________.

--A32. MOTIVATIONS

Q33.) What kind of narrations occurs when a character breaks the “fourth wall”?

--A33. DIRECT-ADDRESS

Q34.) In Abel Gance’s masterpiece Napoleon (1927), Gance introduced which process that used three cameras and three synchronized projectors?

--A34. POLYVISION

Q35.) In what year was the motion picture production code officially replaced by the rating system that remains in use today?

--A35. 1968

Q36.) What is one of the clearest and most powerful motivations in Steven Soderbergh’s Ocean’s Thirteen (2007)?

--A36. REVENGE

Q37.) Which term describes one-dimensional characters who possess very few discernable traits and whose motives and actions are generally predictable and known?

--A37. FLAT CHARACTERS

Q38.) In Akira Kurosawa’s Rashomon (1950), we see which innovative variation on the idea of plot order?

--A38. THE SAME STORY TOLD FROM FOUR DIFFERENT POINTS OF VIEW

Q39.) The plots of some movies—classical murder mysteries, for example—lead us to _____ sense of the story by the time they are done.

--A39. AN UNAMBIGUOUS

Q40.) As what are the experiences of a character or the circumstances of an event that supposedly occurred before the start of the movie’s narrative known?

--A40. BACKSTORIES

Q41.) In Titanic (1997), the story of Rose Calvert’s diamond was part of the ________.

--A41. BACKSTORY

Q42.) Until the summer of what year did adherence to the motion picture production code remain fundamentally voluntary?

--A42. 1934

Q43.) In the Hollywood studio system, each writer was contractually bound to write a specific number of ________ each year.

--A43. FILMS

Q44.) What term describes the group discussion and development of a treatment or synopsis?

--A44. STORY CONFERENCE

Q45.) The five parts of dramatic structure must happen in the following order:

--A45. EXPOSITION, RISING ACTION, CLIMAX, FALLING ACTION, AND DENOUMENT

Q46.) What do we call the elapsed time of those events within the story that the film explicatively presents?

--A46. PLOT DURATION

Q47.) In what year was the motion picture code adopted?

--A47. 1930

Q48.) ________ is often what the most profitable movies are all about.

--A48 TELLING THE STORY

Q49.) What term refers to the total world of the story in which the movie occurs?

--A49. DIEGESIS

Q50.) In regard to literary adaptations, authors whose books are adapted under a partnership agreement with a movie production company have ________ influence on choosing screenwriters and even actors.

--A50. CONSIDERABLE

Q51.) A(n) ________ is a movie devoted to conveying fictional or fictionalized stories.

--A51. NARRATIVE

Q52.) We can readily understand how visual narration works by studying ________.

--A52. SILENT MOVIES

Q53.) When James Cameron planned to make a movie about the sinking of the HMS Titanic, he had to contend with the fact that there were already _______ feature films on the subject as well as numerous television movies and documentaries.

--A53. 3

Q54.) With what does Christopher Nolan’s Memento (2000), like Noé’s Irreversible (2002), end?

--A54. THE STORY'S BEGINNING

Q55.) A ________ is a structure for presenting everything that we see and hear in a film.

--A55. PLOT

Q56.) How many movies have been made from Shakespeare’s plays?

--A56. MORE THAN 250

Q57.) In what order does the plot of Gaspar Noé’s Irreversible (2002) unfold?

--A57, REVERSE

Q58.) What is the term for the central figure of a story who is often referred to as the hero, although he or she may not necessarily be a hero?

--A58. PROTAGONIST