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Full Download Film Art An Introduction 11th Edition Bordwell Test Bank
Full Download Film Art An Introduction 11th Edition Bordwell Test Bank
Full Download Film Art An Introduction 11th Edition Bordwell Test Bank
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Chapter 02
The Significance of Film Form
Multiple Choice Questions
1. What is the term for the relationships among the parts of a film?
A. Pattern
B. Form
C. Structure
D. Plot
Bloom’s: Remember
Learning Objective: Define form
Topic: form and pattern
4. Elements such as traditions, dominant styles, or popular forms that are common to several different types of art are called
A. traits.
B. genres.
C. conventions.
D. formulas.
Bloom’s: Remember
Learning Objective: Know how conventions in form define film experience
Topic: similarity and repetition in film form
6. What kinds of emotions are most likely produced by expectations that are fulfilled?
A. Anxiety or sympathy
B. Puzzlement or increased interest
C. Sadness or joy
D. Satisfaction or relief
Bloom’s: Remember
Learning Objective: Understand how film form elicits emotional response
Topic: form and feeling
8. Which of the following is NOT an example of a manifestation of the formal principle of difference in a film?
A. One character is in a city, and another is in a natural setting.
B. Two characters clash with each other.
C. Characters wear similar costumes or hairstyles.
D. Music varies with changes in setting.
Bloom’s: Analyze
Learning Objective: Understand the film form principle of variation
Topic: difference and variation in film form
11. A written outline that details the major and minor parts of a film, marking the parts by numbers and letters, is a
A. script.
B. segmentation.
C. form plan.
D. blueprint.
Bloom’s: Remember
Learning Objective: Understand how to look for principles of development in film form
Topic: development in film form
13. Comparing the beginning with the ending of a film helps spectators to understand
A. the film's overall pattern.
B. parallel elements in the film.
C. motifs in the film.
D. the film's overall message.
Bloom’s: Understand
Learning Objective: Understand how to pick out patterns when studying films
Topic: form and pattern
14. Which of the following describes a stylistic pattern used in The Wizard of Oz?
A. A tornado leads to Dorothy's journey to Oz.
B. The characters in Oz resemble characters in Dorothy's life in Kansas.
C. Dorothy's adventures in Oz result from her desire to return to Kansas.
D. Colors are used to identify landmarks and locations within the story.
Bloom’s: Understand
Learning Objective: Understand how to pick out patterns when studying films
Topic: form and pattern
16. Which of the following is NOT a type of meaning that spectators might consider in a film?
A. Referential meaning
B. Declared meaning
C. Explicit meaning
D. Implicit meaning
Bloom’s: Remember
Learning Objective: Know how form shapes a film's meaning
Learning Objective: Understand explicit meaning
Learning Objective: Understand implicit meaning
Learning Objective: Understand referential meaning
Topic: form and meaning
17. Which of the following conventions, common in current films, would have been considered unusual in the 1940s and 1950s?
A. A slow pace of events
B. Singing and dancing
C. Flashbacks to earlier events
D. The portrayal of activities that do not occur in everyday life
Bloom’s: Remember
Learning Objective: Know how conventions in form define film experience
Topic: conventions and experience
19. Which of the following criterion for evaluating a film involves an assessment of how emotionally engaging the film is?
A. Moral judgment
B. Realistic sets
C. Intensity of effect
D. Originality
Bloom’s: Remember
Learning Objective: Understand how to evaluate films
Topic: evaluation
Title: Blank?
Language: English
By RANDALL GARRETT
Illustrated by ENGLE
Half an hour later, Kamiroff was rubbing his chin with a forefinger,
deep in concentration. "It sounds wild," he said at last, "but I've
heard of wild things before."
"But what caused it?"
"Do you remember what you did last night? I mean the night of the
first?"
"Not clearly; we got pretty crocked, I remember."
Kamiroff grinned. "I think you were a few up on me. Do you
remember that bottle of white powder I had in the lab down in the
basement?"
"No," Bethelman admitted.
"It was diazotimoline, one of the drugs we've been using in cancer
research on white mice. That whole family of compounds has some
pretty peculiar properties. This one happens to smell like vanilla;
when I let you smell it, you stuck your finger in it and licked off some
of the powder before I could stop you.
"It didn't bother me much; we've given it to mice without any ill
effects, so I didn't give you an emetic or anything."
The bromo had made Bethelman's head feel better. "But what
happened, exactly?" he asked.
"As far as I can judge," the biochemist said, "the diazotimoline has
an effect on the mind. Not by itself, maybe; perhaps it needed the
synergetic combination with alcohol. I don't know.
"Have you heard the theories that Dunne propounded on the mind?"
"Yeah," Bethelman said. "We discussed them last night, I think."
"Right. The idea is that the mind is independent of time, but just
follows the body along through the time stream.
"Evidently, what the diazotimoline did was project your mind two
weeks into the future—to the fifteenth. After two weeks—on the
twenty-ninth—it wore off, and your mind returned to the second. Now
you'll relive those two weeks."
"That sounds like a weird explanation," Bethelman said.
"Well, look at it this way. Let's just say you remember those two
weeks in the wrong order. The drug mixed your memory up. You
remember the fortnight of the second to the fifteenth after you
remember the fortnight of the fifteenth to the twenty-ninth. See?"
"Good gosh, yes! Now I see how I made all that money! I read all the
papers; I know what the stocks are going to do; I know what horses
are going to win! Wow!"
"That's right," Kamiroff agreed. "And you'll know where to leave all
those notes to yourself."
"Yeah! And on the afternoon of the fifteenth, I'll blank out and wake
up in my bed on the morning of the thirtieth!"
"I should think so, yes," Kamiroff said.
"It makes sense, now." Then Bethelman looked up at the biochemist.
"By the way, Dr. Kamiroff, I want to split this money with you; after
all, you're responsible for what happened."
The scientist smiled and shook his head. "No need of that. I have the
diazotimoline, remember? You said you couldn't get hold of me on
the phone; you said I was doing experimental work and couldn't be
disturbed.
"Now, just what do you think I'm going to be experimenting on for the
next couple of months?"
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