Professional Documents
Culture Documents
Download Gateways to Art Understanding the Visual Arts 2nd Edition DeWitte Test Bank all chapters
Download Gateways to Art Understanding the Visual Arts 2nd Edition DeWitte Test Bank all chapters
https://testbankfan.com/product/creative-impulse-an-introduction-
to-the-arts-8th-edition-sporre-test-bank/
https://testbankfan.com/product/growing-artists-teaching-the-
arts-to-young-children-6th-edition-koster-test-bank/
https://testbankfan.com/product/reality-through-the-arts-8th-
edition-sporre-test-bank/
https://testbankfan.com/product/arts-and-culture-an-introduction-
to-the-humanities-combined-volume-4th-edition-benton-test-bank/
Understanding Art 10th Edition Lois Fichner-Rathus Test
Bank
https://testbankfan.com/product/understanding-art-10th-edition-
lois-fichner-rathus-test-bank/
https://testbankfan.com/product/entrepreneurship-the-art-science-
and-process-for-success-2nd-edition-bamford-test-bank/
https://testbankfan.com/product/psychology-from-inquiry-to-
understanding-australia-2nd-edition-lilienfeld-test-bank/
https://testbankfan.com/product/psychology-from-inquiry-to-
understanding-canadian-2nd-edition-lilienfeld-test-bank/
https://testbankfan.com/product/introduction-to-psychology-
gateways-to-mind-and-behavior-with-concept-maps-and-reviews-13th-
edition-coon-test-bank/
2.9: Film, Video, and Digital Art
1. Digital filmmaking has taken over as the dominant technology in the film industry.
3. The way that images appear to be moving in films and videos is actually an optical illusion.
4. The theory that describes the way separate images viewed at regular intervals create the
appearance of continuous motion is called ________.
a. binocular vision d. multi-vision
b. blurred vision e. panoramic vision
c. persistence of vision
ANS: C DIF: Level 1 REF: Moving Images before Film
5. In order for moving images to be invented, motion first had to be frozen in still photographic
images.
6. In full gallop, a horse’s legs are ________ when all of them are off the ground.
a. splayed out in front and behind its body
b. crossed
c. underneath its body
d. angled out to the sides
e. a horse never has all of its legs off the ground
ANS: C DIF: Level 1 REF: Moving Images before Film
10. Georges Méliès’s film A Trip to the Moon is known for being:
a. one of the first films to show a progression of time
b. one of the first films to change location in various scenes
c. a fictional account of astronomers launching their rocket from a cannon
d. a silent film known for trick effects and humor
e. all of the other answers
ANS: E DIF: Level 2 REF: Silent and Black-and-White Film
11. D. W. Griffith’s film Birth of a Nation employed innovative techniques and was used as a
propaganda tool by ________.
a. the Transatlantic Railroad d. the US president
b. Ellis Island e. none of the other answers
c. the Ku Klux Klan
ANS: C DIF: Level 1 REF: Silent and Black-and-White Film
12. Amongst the innovative aspects of Orson Welles’s Citizen Kane are:
a. dramatic lighting, innovative editing, and natural sound
b. elaborate sets and moving camera shots
c. fabricated newspaper headlines and character flashbacks
d. deep focus and low camera angles
e. all of the other answers
ANS: E DIF: Level 1 REF: Silent and Black-and-White Film
13. One of the first popular films to use color imagery was ________.
a. A Trip to the Moon d. Citizen Kane
b. The Wizard of Oz e. Star Wars
c. Singin’ in the Rain
ANS: B DIF: Level 1 REF: Sound and Color
15. One of the first popular films to use synchronized sound was ________.
a. A Trip to the Moon d. Citizen Kane
b. The Wizard of Oz e. Star Wars
c. Singin’ in the Rain
ANS: C DIF: Level 1 REF: Sound and Color
16. The film The Artist, released in 2011, comments on “the good old days” of the film industry by
using ________.
a. aliens and CGI d. silence and black and white
b. comedians and a war setting e. none of the other answers
c. abstraction and animation
ANS: D DIF: Level 1 REF: Sound and Color
17. Using puppets, dolls, or models to create scenes in a movie is called ________.
a. cel animation d. collage
b. imaginary thinking e. expressionism
c. stop-motion animation
ANS: C DIF: Level 1 REF: Animation and Special Effects
18. Using a sequence of specially generated drawings to create scenes in a movie is called ________.
a. cel animation d. collage
b. imaginary thinking e. Expressionism
c. stop-motion animation
ANS: A DIF: Level 1 REF: Animation and Special Effects
20. Such films as Amélie combine realistic and fantastical elements in order to:
a. trick the viewer into believing everything in the film is true
b. point out the magical qualities of ordinary life
c. prevent the filmmaker and actors from being bored during production
d. sell as many products as possible
e. challenge the actors
ANS: B DIF: Level 1 REF: Animation and Special Effects
21. Which of the following were used to create the visual effects in Lord of the Rings?
a. live action d. key-frame animation
b. computer-generated imagery e. all of the other answers
c. motion capture
ANS: E DIF: Level 1 REF: Animation and Special Effects
23. The dark and mysterious scenery of The Cabinet of Dr. Caligari was inspired by ________.
a. German Expressionism d. Netherlandish painting
b. French Impressionism e. none of the other answers
c. African masks
ANS: A DIF: Level 1 REF: Film Genres
24. What genre might a filmmaker be working in if he or she used ominous music, fake blood, and
shot many of the scenes at night?
a. romantic comedy d. fairytale
b. documentary e. none of the other answers
c. horror
ANS: C DIF: Level 2 REF: Film Genres
26. Think about your favorite film. What genre is it? Do you think it is a typical example of that genre,
or does it use new or unexpected approaches? What techniques have been used by the director, or
the special effects team, in creating the mood of the film?
ANS:
Answer will vary.
27. animation
28. film genres
29. nickelodeons
30. storyboards
31. synchronized sound
33. ________ films often include innovative technology, unexpected subject matter, and/or
manipulated images.
a. documentary d. historical
b. experimental e. all of the other answers
c. silent
ANS: B DIF: Level 1 REF: Film as Art: Experimental Films
34. The film The Cabinet of Dr. Caligari uses visual imagery rather than traditional dialogue to tell the
story, while the focus on imagery in Meshes of the Afternoon may seem closer to traditional fine
art than to a conventional movie narrative. Consider the movie stills in two or three examples from
this chapter, and make a list of the elements and principles at work in them. If possible, see the
films themselves (or watch an extract) and discuss how those elements and principles have
translated across moving images. Which of them are still present? In what ways have they
changed?
ANS:
Answer will vary.
36. Nam June Paik’s ________ combines recognizable and distorted images made using a synthesizer
to modulate video signals.
a. ABC.123 d. Shock Wave
b. Inconvenient Truth e. collage
c. Global Groove
ANS: C DIF: Level 1 REF: Film as Art: Video
37. Consider the following statement by Bill Viola, first by yourself, then with a group:
“Technology is the imprint of the human mind onto the material substance of the natural world.
Like the Renaissance, today’s technological revolution is fueled by a combination of art, science,
and technology, and the universal human need to share our individual ideas and experiences in
ever-new ways . . . The digital image has become the common language of our time, and through it
living artists are once again emerging from the margins of culture to speak directly to the people in
the language of their experience”
What does Viola mean by this statement? Do you agree or disagree? What examples can you find
to support or refute his claims?
ANS:
Answer will vary.
38. David Fincher’s House of Cards is known especially for being ________.
a. a 24-hour film screened in real time
b. a mini-series with a full season’s episodes released simultaneously
c. an interactive narrative that evolves with viewer input during filming
d. a documentary on the history of Las Vegas casinos
e. none of the other answers
ANS: B DIF: Level 1 REF: Interactive Technology
[718] Ric. Hexh. (Raine), pp. 81–84. Joh. Hexh. (ibid.), p. 117.
The record of Waleran’s exploit is in Flor. Worc. Contin. (Thorpe),
vol. ii., p. 112.
[722] Ric. Hexh. (Raine), pp. 84, 85, 89. Joh. Hexh. (ibid.), p.
118.
There was no help to be looked for from the king. All through that
summer the whole south and west of England had been in a blaze of
revolt which was still unsubdued, and Stephen had neither time,
thought, nor troops to spare for the defence of the north. But in face
of such a danger as this the men of the north needed no help from
him. When their own hearths and altars were threatened by the
hereditary Scottish foe, resistance was a matter not of loyalty but of
patriotism. The barons and great men of the shire at once organized
their plans under the guidance of Archbishop Thurstan, whose
lightest word carried more weight in Yorkshire than anything that
Stephen could have said or done. Inspired by him, the forces of the
diocese met at York in the temper of crusaders. Three days of
fasting, almsgiving and penance, concluding with a solemn
absolution and benediction from their primate, prepared them for
their task. Worn out as he was with years and labours—so feeble
that he could neither walk nor ride—Thurstan would yet have gone
forth in his litter at the head of his men to encourage the host with his
presence and his eloquence; but the barons shrank from such a risk.
To them he was the Moses on whose uplifted hands depended their
success in the coming battle; so they sent him back to wrestle in
prayer for them within his own cathedral church, while they went
forth to their earthly warfare against the Scot.[723]
[723] Ric. Hexh. (Raine), pp. 86, 87. Joh. Hexh. (ibid.), pp. 118,
119.
[724] Ric. Hexh. (Raine), pp. 90, 91. Joh. Hexh. (ibid.), p. 119.
Cf. the description of the Milanese carroccio—“quod apud nos
standard dicitur” as the German writer remarks—in 1162 (Ep.
Burchard. Notar. Imp. de Excidio Mediolan., in Muratori, Rer. Ital.
Scriptt., vol. vi. p. 917).
[727] “The the king adde beteht Euorwic.” Eng. Chron. a. 1138.
[732] Ib. col. 345. Hen. Hunt., l. viii. c. 9 (Arnold, pp. 263, 264),
who, however, turns the Galwegians into men of Lothian; see
above, note 2{730}.
The defeat of the Scots was shared by the English baron who had
brought them into the land. But Eustace Fitz-John was far from
standing alone in his breach of fealty to the English king. All the
elements of danger and disruption which had been threatening
Stephen ever since his accession suddenly burst forth in the spring
of 1138.[743] Between the king and the barons there had been from
the first a total lack of confidence. It could not be otherwise; for their
mutual obligations were founded on the breach of an earlier
obligation contracted by both towards Matilda and her son. There
could not fail to be on both sides a feeling that as they had all alike
broken their faith to the Empress, so they might at any moment
break their faith to each other just as lightly. But on one side the
insecurity lay still deeper. Not only was the king not sure of his
subjects; he was not sure of himself. How far Stephen was morally
justified in accepting the crown after he had sworn fealty to another
candidate for it is a question whose solution depends upon that of a
variety of other questions which we are not bound to discuss here.
Politically, however, he could justify himself only in one way: by
proving his fitness for the office which he had undertaken. What he
proved was his unfitness for it. Stephen, in short, had done the most
momentous deed of his life as he did all the lesser ones, without first
counting the cost; and it was no sooner done than he found the cost
beyond his power to meet. A thoroughly unselfish hero, a thoroughly
unscrupulous tyrant, might have met it successfully, each in his own
way. But Stephen was neither hero nor tyrant; he was “a mild man,
soft and good—and did no justice.”[744] His weakness shewed itself
in a policy of makeshift which only betrayed his uneasiness and
increased his difficulties. His first expedient to strengthen his position
had been the unlucky introduction of the Flemish mercenaries; his
next was the creation of new earldoms in behalf of those whom he
regarded as his especial friends, whereby he hoped to raise up an
aristocracy wholly devoted to himself, but only succeeded in
provoking the resentment and contempt of the older nobility; while to
indemnify his new earls for their lack of territorial endowment and
give them some means of supporting their titular dignity, he was
obliged to provide them with revenues charged upon that of the
Crown.[745] But his prodigality had already made the Crown
revenues insufficient for his own needs;[746] and the next steps were
the debasement of the coinage[747] and the arbitrary spoliation of
those whom he mistrusted for the benefit of his insatiable favourites.
[748] They grew greedier in asking, and he more lavish in giving;
castles, lands, anything and everything, were demanded of him
without scruple; and if their demands were not granted the
petitioners at once prepared for defiance.[749] He flew hither and
thither, but nothing came of his restless activity;[750] he did more
harm to himself than to his enemies, giving away lands and honours
almost at random, patching up a hollow peace,[751] and then, when
he found every man’s hand against him and his hand against every
man, bitterly complaining, “Why have they made me king, only to
leave me thus destitute? By our Lord’s Nativity, I will not be a king
thus disgraced!”[752]
[743] “Hi igitur duo anni [i.e. 1136 and 1137] Stephani regis
prosperrimi fuerunt, tertius vero . . . mediocris et intercisus fuit;
duo vero ultimi exitiales fuerunt et prærupti.” Hen. Hunt., l. viii. c.
5 (Arnold, p. 260). By this reckoning it seems that after Stephen’s
capture at the battle of Lincoln Henry does not count him king at
all.
[744] Eng. Chron. a. 1137.
[748] See the first and fullest example in the story of the siege
of Bedford, December 1138–January 1139; Gesta Steph.
(Sewell), pp. 30–32. Cf. Hen. Hunt., l. viii. c. 6 (Arnold, p. 260).
The sequel of the story is in Gesta Steph., p. 74.
The full force of the blow came upon Stephen while he was
endeavouring to dislodge Geoffrey Talbot from Hereford. After a
siege of nearly five weeks’ duration the town caught fire below the
bridge; the alarmed rebels offered terms, and Stephen with his usual
clemency allowed them to depart free.[765] After taking the
neighbouring castle of Weobly, and leaving a garrison there and
another at Hereford,[766] he seems to have returned to London[767]
and there collected his forces for an attack upon the insurgents in
their headquarters at Bristol. Geoffrey Talbot meanwhile made an
attempt upon Bath, but was caught and put in ward by the bishop.
The latter however was presently captured in his turn by the garrison
of Bristol, who threatened to hang him unless their friend was
released. The bishop saved his neck by giving up his prize; Stephen
in great indignation marched upon Bath, and was, it is said, with
difficulty restrained from depriving the bishop of his ring and staff—a
statement which tells something of the way in which the king kept his
compact towards the Church. He contented himself however with
putting a garrison into Bath, and hurried on to the siege of Bristol.
[768]
[765] Flor. Worc. Contin. (Thorpe), vol. ii., p. 106. The writer
adds that on the very day of Stephen’s departure (June 15)
Geoffrey set fire to everything beyond the Wye; seven or eight
Welshmen perished, but no English (ib. p. 107)—an indication
that the part of Hereford beyond the Wye was then a Welsh
quarter.
[768] Flor. Worc. Contin. (as above), pp. 108, 109. In Gesta
Steph. (Sewell), pp. 37–39, 41, 42, the story is told at greater
length, and the writer seems to defend the bishop and to
consider his own hero rather ungrateful.
[773] Ib. p. 40, 41. Flor. Worc. Contin. (Thorpe), vol. ii. p. 109.
Both writers, however, seem to lay to the sole account of the
Bristol garrison all the horrors which in the Eng. Chron. a. 1137,
are attributed to the barons and soldiers in general throughout
the civil war.
[783] Ibid.
[788] Ibid.
In the spring of 1138 a schism which had rent the Western Church
asunder for seven years was ended by the death of the anti-pope
Anacletus, and Pope Innocent II. profited by the occasion to send
Alberic bishop of Ostia as legate into England—Archbishop William
of Canterbury, who had held a legatine commission together with the
primacy, having died in November 1136.[789] Alberic landed just as
the revolt broke out, and Stephen had therefore no choice but to
accept his credentials and let him pursue his mission, whatever it
might be.[790] It proved to be wholly a mission of peace. Alberic
made a visitation-tour throughout England,[791] ending with a council
at Carlisle, whither the king of Scots, who had adhered to Anacletus,
now came to welcome Innocent’s representative. There, on the
neutral ground of young Henry’s English fief, the legate made an
attempt to mediate between David and Stephen; but all that the
former would grant was a truce until Martinmas, and a promise to
bring to Carlisle and there set free all the captive Englishwomen who
could be collected before that time, as well as to enforce more
Christian-like behaviour among his soldiers for the future.[792] On the
third Sunday in Advent the legate held a council at Westminster,
when Theobald, abbot of Bec, was elected archbishop of Canterbury
by the prior of Christ Church and certain delegates of the convent, in
presence of the king and the legate.[793] Theobald’s consecration,
two days after Epiphany, brought Alberic’s mission to a satisfactory
close.[794]
[789] Flor. Worc. Contin. (Thorpe), vol. ii. pp. 97, 98. On
Alberic see Ric. Hexh. (Raine), pp. 96, 97.
[791] Ibid. The details of his movements in the north are in Ric.
Hexh. (Raine), p. 98, and Joh. Hexh. (ibid.), p. 121.
[792] Ric. Hex. (Raine), pp. 99, 100. Joh. Hexh. as above.
In the work of mediation he had soon found that there was one
who had the matter more nearly at heart, and who had a much better
chance of success than himself. Queen Matilda was warmly
attached to her Scottish relatives, and lost no opportunity of urging
her husband to reconciliation with them. At last, on April 9, she and
her cousin Henry met at Durham; David and Henry gave hostages
for their pacific conduct in the future, and the English earldom of
Northumberland was granted to Henry.[795] The treaty was ratified by
Stephen at Nottingham;[796] the Scottish prince stayed to keep
Easter with his cousins, and afterwards accompanied the king in an
expedition against Ludlow. The castle of Ludlow, founded probably
by Roger de Lacy in the reign of William Rufus, was destined in
after-days to become a treasure-house alike for historian, antiquary
and artist. Memories of every period in English history from the
twelfth century to the seventeenth throng the mighty pile, in which
almost every phase of English architecture may be studied amid
surroundings of the most exquisite natural beauty. The site of the
fortress, on a rocky promontory rising more than a hundred feet
above the junction of the Corve and the Teme, was admirably
adapted for defence. The northern and western walls of its outer
ward rose abruptly from the steep slope of the rock itself; on the east
and south it was protected by a ditch, crossed by a bridge which led
to the inner ward and the keep, securely placed near the south-
western angle of the enclosure.[797] The fief of Ludlow had
escheated to the Crown soon after Stephen’s accession,[798] and he
had apparently bestowed it upon one Joce or Joceas of Dinan,[799]
who now, it seems, was holding it against him. The siege came to
nothing, though it was made memorable by an incident which nearly
cost the life of Henry of Scotland and furnished occasion for a
characteristic display of Stephen’s personal bravery. A grappling-iron
thrown from over the wall caught the Scottish prince, dragged him off
his horse, and had all but lifted him into the castle, when the king
rushed forward and set him free.[800] This adventure, however,
seems to have cooled Stephen’s ardour for the assault, and after
setting up two towers to hold the garrison in check, he again
withdrew to London.[801] Early in the year he had taken Earl Robert’s
castle of Leeds;[802] and altogether his prospects were beginning to
brighten, when they were suddenly overclouded again by his own
rashness and folly.
[808] Will. Malm. Hist. Nov., l. ii. c. 20 (Hardy, p. 717), lays the
blame on the men of Alan of Richmond (or Britanny); the Gesta
Steph. (Sewell, p. 49) on Waleran of Meulan. Flor. Worc. Contin.
(Thorpe), vol. ii. p. 108, gives no name.
[811] Flor. Worc. Contin. (Thorpe), vol. ii. p. 108. Gesta Steph.
(Sewell), p. 50.