Test Bank For Film Art An Introduction 11th Edition Bordwell

Test Bank for Film Art: An Introduction 11th Edition Bordwell
Test Bank for Film Art: An Introduction 11th Edition

Bordwell
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ordwell/
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Chapter 06
The Relation of Shot to Shot: Editing
Multiple Choice Questions
1. An ordinary modern Hollywood film typically contains about

A. 100 to 200 shots.
B. 5,000 to 10,000 shots.
C. 40,000 to 50,000 shots.
D. 1,000 to 3,000 shots.
Bloom’s: Remember
Learning Objective: Define editing
Topic: editing
2. Which of the following is NOT a type of transition from one shot to another?
A. A dissolve
B. A glide
C. A wipe
D. A fade
Bloom’s: Remember
Learning Objective: Understand graphic relations between shots
Topic: graphic relations between shots
3. In the scene of the gas-station explosion in The Birds, the editing employs
A. strong graphic matching.
B. conflicting graphic qualities.
C. brief dissolves to create a montage sequence.
D. systematic crossing of the axis of action.
Bloom’s: Understand
Learning Objective: Analyze four shots from The Birds
Learning Objective: Understand graphic contrast
4. Lev Kuleshov's discovery, termed the "Kuleshov effect," suggests that

A. regular graphic matching always enhances the narrative clarity of a scene.
B. the spectator's center of attention should be kept in the middle of the screen from one shot to the next.
C. even if no establishing shot is shown, spectators will still assume that objects in separate shots are near one another.
D. spectators tend not to notice editing if matches on action and shot/reverse shots are consistently used.
Learning Objective: Know what the Kuleshov effect is
5. Crosscutting is an editing technique that

A. alternates between simultaneous shots in two separate spaces.
B. moves back and forth across the axis of action.
C. introduces flashbacks by direct cuts rather than dissolves or fade-outs.
D. alternates long-shot views with extreme close-ups.
Bloom’s: Remember
Learning Objective: Define crosscutting
Learning Objective: Understand temporal relations between shots
Topic: temporal relations between shots
6. A temporal ellipsis in editing

A. repeats an action to extend time.
B. shows parallel actions to repeat time.
C. eliminates part of the action to condense time.
D. creates a smooth match on action to eliminate time.
Bloom’s: Remember
Learning Objective: Define elliptical editing
Topic: temporal continuity
7. What change in continuity editing has occurred to adapt to the increased number of shots used in films since 1960?
A. Increased use of establishing shots
B. More frequent motion of the camera
C. Less use of telephoto lenses
D. More distant views of characters
Learning Objective: Analyze contemporary editing
Learning Objective: Define continuity editing
Topic: continuity editing
8. The technique of overlapping editing consists of

A. cutting away to action happening elsewhere.
B. expanding the scene by showing more than one view of the same action.
C. placing a small portion of one strip of film over another in order to make a splice.
D. making scene changes so rapidly that the audience cannot see what is happening in the individual shots.
Bloom’s: Remember
Learning Objective: Define overlapping editing
9. Continuity editing is a system for

A. rapidly editing on video as the film is being shot.
B. creating a regular rhythm for a scene.
C. making shots progressively more rapid during a scene.
D. for keeping the spatial and temporal relations of a scene clear.
Bloom’s: Remember
Learning Objective: Define continuity editing
10. Which of the following is NOT a characteristic of the 180-degree system?

A. It keeps part of the background consistent from shot to shot.
B. It ensures constant screen direction from shot to shot.
C. It ensures a temporal overlap from shot to shot.
D. It avoids crossing the axis of action.
Learning Objective: Define spatial continuity
Learning Objective: Know how to establish and manipulate space
Topic: spatial continuity
11. The opening scene of The Maltese Falcon showing the office of detective Sam Space contains examples of what type of
editing?
A. Crosscutting between Sam's office and the bridger
B. Montage sequence of Effie's childhood
C. Rhythmic cutting between the office window and Effie's entrance
D. Shot/reverse shot during the conversation between Effie and Sam
Bloom’s: Remember
Learning Objective: Define shot/reverse-shot
Topic: continuity editing in The Maltese Falcon
12. The axis of action is

A. an imaginary vertical line down the center of the screen around which the characters are clustered to preserve a graphic
circle.
B. an imaginary 180-degree line between the main characters that determines where the camera should be placed to preserve
continuity.
C. an imaginary 30-degrees line between the main character and the camera that determines where the camera should be
placed for close-ups.
D. a chalk line marked on the floor to show how far away from the camera the actor should be.
Bloom’s: Remember
13. The 180-degree system is designed to

A. ensure consistent screen direction across cuts.
B. create smooth, unnoticeable matches on action across elliptical cuts.
C. allow the camera to cut from action in one location to action elsewhere.
D. avoid cutting in the middle of a camera movement to a static framing.
Learning Objective: Understand what happens when a filmmaker uses spatial continuity
14. A cheat cut involves
A. crossing the axis of action by 30 degrees and then matching on action to guide the eye.
B. "cutting" the film in the camera so that actual splices are not needed.
C. splicing together two shots taken from the same framing but with an ellipsis.
D. a slight mismatch in the positions of mise-en-scene elements.
Bloom’s: Remember
Learning Objective: Define cheat cut
15. Crosscutting typically

A. provides a greater degree of continuity than a shot/reverse shot does.
B. provides more knowledge of narrative events than other types of editing.
C. provides less knowledge of narrative events than other types of editing.
D. demands a great deal of matching on action for events to be clear.
Topic: crosscutting
16. In the continuity system, a montage sequence usually

A. compresses a lengthy series of actions into a few moments.
B. generates suspense during a last-minute rescue situation.
C. serves as a brief epilogue to the main narrative.
D. uses eyeline matching to guarantee clear spatial relations among shots.
Learning Objective: Define montage sequence
17. Precise graphic matching in a narrative context is typical of the films of

A. Stan Brakhage.
B. Yasujiro Ozu.
C. Andy Warhol.
D. Bruce Conner.
Bloom’s: Remember
Learning Objective: Define graphic match
18. Which of the following is NOT a significant alternative to the techniques of the continuity system?
A. 360-degree space
B. Nondiegetic inserts
C. Jump cuts
D. Cheat cuts
Learning Objective: Analyze discontinuity editing
Topic: alternatives to continuity editing
19. Which of the following is NOT characteristic of the editing in Sergei Eisenstein's October?
A. Graphic discontinuities
B. Establishing shots
C. Crosscutting
D. Unclear temporal relations
Bloom’s: Remember
20. In Citizen Kane, Orson Welles utilizes what kind of transition between the deathbed sequence and the "News on the
March" sequence?
A. Fade-in
B. POV shot
C. Graphic mismatch
D. Match on action
Bloom’s: Remember
21. Digital intra-frame editing allows filmmakers to alter space by
A. intercutting two unrelated images to imply a compression of time as well as space.
B. layering parts of different shots into a single shot.
C. splicing together multiple frames and using traveling mattes to produce a fast-forward effect.
D. utilizing mismatched shots in a conversation sequence to hide their flaws.
Topic: spatial relations between shots
22. Kuleshov typically utilized what editing technique to create a sense of spatial proximity between shots?
A. Shot/reverse shot
B. Crosscutting
C. Eyeline match
D. Reframing
Bloom’s: Remember
Learning Objective: Know what the Kuleshov effect is
Topic: spatial relations between shots
23. A match on action

A. carries a single movement across two or more shots.
B. smoothes the transition across a jump cut.
C. provides a way of avoiding the 180-degree rule.
D. allows for cheat cuts without violating continuity.
Bloom’s: Remember
Learning Objective: Understand spatial relations between shots
24. In Rear Window, POV editing

A. provides the viewer with omniscient access to the murder.
B. confuses the viewer concerning the actual location of Jeff.
C. restricts the viewer to Jeff's range of knowledge.
D. introduces unrestricted access to all of the occurrences in Thorwald's apartment.
Bloom’s: Remember
Learning Objective: Analyze point-of-view cutting
25. Contemporary filmmaking differs from that of classical Hollywood in all the following ways except
A. more frequent use of close-ups.
B. less crosscutting.
C. fewer establishing shots.
D. increased use of telephoto lens.
Learning Objective: Understand the dimensions of order and frequency in temporal continuity
Topic: crosscutting
26. A battle scene will typically utilize what editing pattern to show what the opposing groups are doing at any given
moment?
A. Crosscutting
B. Shot/reverse shot
C. Graphic matches
D. Eyeline matches
Bloom’s: Remember
Learning Objective: Define crosscutting
Topic: crosscutting
27. Which of the following is NOT used to produce an elliptical transition?

A. Fade-out
B. Montage sequence
C. Dolly shot
D. Cut
True / False Questions
28. Films that use a great deal of editing are more "cinematic" than those that rely mostly on long takes.
FALSE
Learning Objective: Understand how duration offers unusual editing possibilities
29. Film editing may be thought of as the coordination or connection of one shot with the next.
TRUE
Bloom’s: Remember
Topic: editing
30. In order to create a smooth flow of narrative information, Hollywood films use detailed graphic matches for almost all
cuts.
FALSE
Bloom’s: Remember
Learning Objective: Define graphic match
31. In editing, rhythm depends on the patterning of shot lengths.

TRUE
Bloom’s: Remember
Learning Objective: Understand rhythmic relations between shots
Topic: rhythmic relations between shots
32. An establishing shot is a close view that reveals a significant detail in the scene.
FALSE
Bloom’s: Remember
33. Most films made since 1995 indicate the passage of time through fades and dissolves instead of direct cuts.
FALSE
Bloom’s: Remember
34. A scene's axis of action shifts as the characters move around the set.
TRUE
Bloom’s: Remember
35. The term shot/reverse shot refers to cutting back and forth across the axis of action.
FALSE
Bloom’s: Remember
36. A match on action is a common method of breaking the axis of action.

FALSE
Bloom’s: Remember
Learning Objective: Define match on action
Learning Objective: Understand how to cut across the axis of action
37. Most shot/reverse-shot cuts utilize the eyeline match.

TRUE
Learning Objective: Define eyeline match
38. Flashbacks are the most common departure from a 1-2-3 temporal order in Hollywood continuity films.
TRUE
Bloom’s: Remember
39. Overlapping editing expands story duration.

TRUE
Bloom’s: Remember
40. In the sequence at the gas station in The Birds, Hitchcock utilizes a long and slow camera movement to reframe the
complex action.
FALSE
Bloom’s: Remember
Learning Objective: Analyze rhythmic cutting
Learning Objective: Understand rhythmic relations between shots
Topic: rhythmic relations between shots
41. Editing is the most effective technique for controlling a viewer's attention.
TRUE
Learning Objective: Understand how a film editor join shots
Topic: editing
42. Graphic qualities are rarely considered in traditional continuity editing.

FALSE
Learning Objective: Know some graphic and rhythmic possibilities to continuity editing
43. Elliptical editing expands story time.

FALSE
44. A shot can be as short as a single frame.

TRUE
Topic: editing
45. A POV shot is optically identical to an eyeline match.

FALSE
Learning Objective: Define eyeline match
46. POV editing in Rear Window violates the 180-degree rule.

FALSE
47. The "intensified continuity" that characterizes contemporary filmmaking is well adapted for viewing on small screens
such as those found on laptop computers and smartphones.
TRUE
Test Bank for Film Art: An Introduction 11th Edition Bordwell
Bloom’s: Remember
48. A match on action is so powerful that it can create spatial and temporal continuity across the cut.
TRUE
Learning Objective: Define match on action
Essay Questions
49. Discuss how the number of shots in a film has evolved since 1930 and how this has affected the continuity editing
system.
Answers will vary
Bloom’s: Remember
Learning Objective: Know some graphic and rhythmic possibilities to continuity editing
Category # of Questions
Bloom's: Remember 29
Bloom's: Understand 20
Learning Objective: Analyze contemporary editing 3
Learning Objective: Analyze discontinuity editing 1
Learning Objective: Analyze four shots from The Birds 1
Learning Objective: Analyze point-of-view cutting 3
Learning Objective: Analyze rhythmic cutting 1
Learning Objective: Define cheat cut 1
Learning Objective: Define continuity editing 2
Learning Objective: Define crosscutting 2
Learning Objective: Define editing 3
Learning Objective: Define elliptical editing 3
Learning Objective: Define eyeline match 2
Learning Objective: Define graphic match 2
Learning Objective: Define match on action 2
Learning Objective: Define montage sequence 1
Learning Objective: Define overlapping editing 1
Learning Objective: Define shot/reverse-shot 3
Learning Objective: Define spatial continuity 3
Learning Objective: Know how to establish and manipulate space 4
Learning Objective: Know some graphic and rhythmic possibilities to continuity editing 2
Learning Objective: Know what the Kuleshov effect is 2
Learning Objective: Understand graphic contrast 3
Learning Objective: Understand graphic relations between shots 5
Learning Objective: Understand how a film editor join shots 1
Learning Objective: Understand how duration offers unusual editing possibilities 1
Learning Objective: Understand how to cut across the axis of action 1
Learning Objective: Understand rhythmic relations between shots 2
Learning Objective: Understand spatial relations between shots 1
Learning Objective: Understand temporal relations between shots 6
Learning Objective: Understand the dimensions of order and frequency in temporal continuity 4
Learning Objective: Understand what happens when a filmmaker uses spatial continuity 7
Topic: alternatives to continuity editing 1
Topic: continuity editing 7
Topic: continuity editing in The Maltese Falcon 1
Topic: crosscutting 3
Topic: editing 4
Topic: graphic relations between shots 8
Topic: rhythmic relations between shots 2
Topic: spatial continuity 12
Topic: spatial relations between shots 2
Topic: temporal continuity 7
Topic: temporal relations between shots 7
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Test Bank for Film Art: An Introduction 11th Edition Bordwell

Test Bank for Film Art: An Introduction 11th Edition

To download the complete and accurate content document, go to:

Visit TestBankBell.com to get complete for all chapters

1. An ordinary modern Hollywood film typically contains about

4. Lev Kuleshov's discovery, termed the "Kuleshov effect," suggests that

5. Crosscutting is an editing technique that

6. A temporal ellipsis in editing

8. The technique of overlapping editing consists of

9. Continuity editing is a system for

10. Which of the following is NOT a characteristic of the 180-degree system?

12. The axis of action is

13. The 180-degree system is designed to

15. Crosscutting typically

16. In the continuity system, a montage sequence usually

17. Precise graphic matching in a narrative context is typical of the films of

23. A match on action

24. In Rear Window, POV editing

27. Which of the following is NOT used to produce an elliptical transition?

31. In editing, rhythm depends on the patterning of shot lengths.

36. A match on action is a common method of breaking the axis of action.

37. Most shot/reverse-shot cuts utilize the eyeline match.

39. Overlapping editing expands story duration.

42. Graphic qualities are rarely considered in traditional continuity editing.

43. Elliptical editing expands story time.

44. A shot can be as short as a single frame.

45. A POV shot is optically identical to an eyeline match.

46. POV editing in Rear Window violates the 180-degree rule.

Topic: temporal relations between shots

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