the 1.
In earliest years of cinema, the late 1890s, movies were brief, consisting of short events photographed in long shot in a single __________. Your Answer: d Correct Answer: take
2.
By the early twentieth century, filmmakers had already devised a functional style of editing we now call __________ . This type of cutting is a technique used in most fiction films even today and tries to preserve the fluidity of an event without literally showing it all. Your Answer: d Correct Answer: cutting to continuity
3.
A/an __________ is an editing transition that is confusing in terms of space and time. Your Answer: d Correct Answer: jump cut
4.
By 1908 when the genius D.W. Griffith entered the field of filmmaking, it was already known that the __________ was the basic unit of film construction. Your Answer: d Correct Answer: shot
5.
Griffith has been called the __________ because he consolidated and expanded many of the techniques invented by his predecessors and was the first to go beyond gimmickry into the realm of art. Your Answer: d Correct Answer: Father of Film
6.
During the golden years of the American studio system--roughly the 1930s and 1940s--directors were often urged (or forced) to adopt the __________ technique of shooting.
This method involved shooting an entire scene in long shot without cuts. This take contained all the dramatic variables for the scene. Your Answer: d Correct Answer: master-shot
7.
Griffith and other classical filmmakers developed a variety of editing conventions that they thought made the cutting __________ , or at least didn't call attention to itself. Your Answer: d Correct Answer: invisible
8.
The alternation of shots of one scene with another at a different location is known as __________. Your Answer: d Correct Answer: parallel editing
9.
In juxtaposing shots from separate sequences near the end of The Birth of a Nation, D. W. Griffith manages to intensify the suspense by reducing the __________ of the shots. Your Answer: d Correct Answer: duration
10.
Usually, __________ shots are more densely saturated with visual information than close-ups and need to be held longer on the screen. Your Answer: d Correct Answer: longer
11.
Thematic montage stresses the association of __________ , irrespective of the continuity of time and space. Your Answer: d Correct Answer: ideas
12.
The film __________ was not a commercial success, but its influence immense. was The filmmakers of the Soviet Union were dazzled by Griffith's movie and based their own theories of montage on his practices in this film. Your Answer: d Correct Answer: Intolerance
13.
In the 1920s, the Soviet filmmakers expanded Griffith's associational principles and established the theoretical premises for thematic editing, or __________ as they called it (from the French word monter, meaning to assemble). Your Answer: d Correct Answer: montage
14.
__________ insisted that each shot should make a new point. Through the juxtaposition of shots, new meanings can be created. The meanings, then, are in the juxtapositions rather than in one shot alone. Your Answer: d Correct Answer: Pudovkin
15.
Pudovkin's mentor __________ believed that ideas in cinema are created by linking together fragmentary details to produce a unified action, and he conducted a series of famous visual experiments to make his argument. Your Answer: d Correct Answer: Lev Kulshov
16.
On the other hand, __________ believed that the essence of existence is constant change. He believed that nature's eternal fluctuation is dialectical--the result of the conflict and synthesis of opposites--and took this approach in film editing. Your Answer: d Correct Answer: Eisenstein
17.
__________ was not a filmmaker but solely a critic and a theorist. For a number of years, he was the editor of the influential French journal Cahiers du Cinma, in which he set forth an aesthetic of film that was in sharp opposition to such formalists as Pudovkin and Eisenstein. Your Answer: d Correct Answer: Bazin
18.
In such movies as The Little Foxes, The Best Years of Our Lives, and The Heiress, director __________ achieved an unparalleled neutrality and transparency. Bazin insisted it would be nave to confuse this neutrality with an absence of art. Your Answer: d Correct Answer: William Wyler
19.
In 1945, immediately following World War II, a movement called __________ sprang up in Italy and gradually influenced directors all over the world. Spearheaded by Roberto Rossellini and Vittorio De Sica, two of Bazin's favorite filmmakers, this movement deemphasized editing. Your Answer: d Correct Answer: neorealism
20.
Alfred Hitchcock often provided frame drawings of his shots (a technique called __________), especially for those sequences involving complex editing. Your Answer: d Correct Answer: storyboarding