Film Appreciation Chapter Eight (EDITING)
1. Once the axis of action is determined, the camera can operate on either side of the line. (False)
2. Both parallel editing and crosscutting permit us to experience at least two sides of related actions. (True)
3. Lev Kuleshov discovered that two shots _________ any actual relationship to one another if the first shot is an action followed by another shot that is a reaction. (need not have)
4. Continuity and discontinuity are absolute polar-opposite values and are not simply tendencies along some imagined continuum. (False)
5. The most fundamental assumption behind all film editing is that viewers tend to interpret shots in relation to surrounding shots. (True)
6. To understand the editing of any movie, we need to know what action occurs in the scene, how the scene has been photographed, and what editing pattern holds the shots together. (True)
7. To establish a spatial relationship between shots, the editor needs to ensure that there is a real space whose dimensions correspond to the space implied by editing. (False)
8. Graphic matches often match unique forms and colors together, but avoid basic shapes like circles and squares. (False)
9. The editor is responsible for managing the following aspects of the final film: (spatial relationships and temporal relationships between shots, overall rhythm of the film)
10. Most master shots are essentially one long or extremely long shot that covers all the action. (True)
11. As you watch a movie, you see mise-en-scène, you hear dialogue and other sounds, but you feel editing. (True)
12. The iris-in and iris-out are special effects transitions that are made in the laboratory and not with the camera’s iris diaphragm. (True)
13. The technique for the actual joining together of two shots is often called _________ or _________. (cutting … splicing)
14. The master shot, like medium shots and close-ups, can be photographed from many different angles or setups. (True)
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