Film Appreciation Chapter Two (PRINCIPLES OF FILM FORM)
1. The conventions that make up cinematic language are not flexible. (False)
2. The most acute human eye can discern no more than fifty pulses of light per second. (True)
3. Audiences associate particular camera formats and techniques with reality. (True)
4. In Donnie Darko (2001), the director (Richard Kelly) uses a typical AB shot/reverse shot pattern with Eddie (the father) and Donnie (the son) driving home after school for a simple two-person conversation. We see the point of view of Eddie or Donnie in the sequence. How does the director “jolt” us in the scene? (We see a look of horror on Donnie’s face, then see a view of a lady in the road just ahead, about to be run over. The dad’s cell phone goes off)
5. The fundamentals of film form are that movies depend on light, provide an illusion of movement, and do not manipulate space and time. (False)
6. Ridley Scott’s Gladiator (2000) is convincing and believable because it adheres to the cinematic conventions established by previous movies about the ancient world, including Stanley Kubrick’s Spartacus (1960). (True)
7. In movies, patterns may be formed by narrative, shot sequences, or non narrative elements. (True)
8. Various approaches to rearranging time allow filmmakers to create narrative meanings. (True)
9. Various forms shape our emotional and intellectual responses to a movie’s subject matter. (True)
10. Parallel editing is the only means of creating and exploiting patterns in movies. (False)
11. _________ is the subject of an artwork, and _________ is the means by which the subject is expressed. (Content; form)
12. Familiar sound effects or motifs from a movie’s score are also important components of film form. (True)
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