Week 1-3: Foundation/Vision/Sound

Q: Which concept is described in the following passage: a form of cinema that prioritizes sensory experience over narrative, asking the viewer to feel rather than primarily interpret?

A: Cinema of Sensation

Q: Which concept is described in the following passage: a key characteristic of sensory cinema in which the film emphasizes textures, surfaces, bodies, and the physical qualities of the image?

A: Cinematic Materiality

Q: Which concept is described in the following passage: a feature of sensory cinema in which blurred, fragmented, or unclear images unsettle stable visual understanding?

A: Destabilization of Perception

Q: Which concept is described in the following passage: a mode of spectatorship in which the viewer experiences the film bodily and sensorially rather than simply analyzing its meaning?

A: Embodied Spectatorship

Q: Which mode of filmmaking is described in the following passage: a style rejected by cinema of sensation because it emphasizes narrative clarity, goal-oriented characters, and continuity?

A: Classical Hollywood Cinema

Q: Which visual regime is described in the following passage: a perspective system rejected by cinema of sensation because it privileges clear, rational, distanced vision?

A: Renaissance Perspective

Q: Which concept is described in the following passage: an experience in which the viewer is both inside the film and outside it at the same time, aware of the work while also absorbed in it? —> the idea that immersion is never total escape, because it includes awareness of separation from the film

A: Paradox of Immersion

Q: Which idea is described in the following passage: the experience of navigating multiple spaces simultaneously while watching a film, rather than being fully absorbed into a single world?

A: Immersion as Multiplicity of Spaces

Q: Which phrase is described in the following passage: the notion that the spectator exists in two states at once, both absorbed in the film and aware of the act of watching?

A: Two Bodies at Once

Q: Which term is described in the following passage: the feeling of “being there” in a film world that does not depend on plot or story, but can arise from atmosphere, sound, and space?

A: Presence Effect

Q: Which theorist is associated with the term “presence effect,” meaning the sensation of being in a cinematic world independent of story?

A: Noël Burch

Q: Which idea is described in the following passage: the notion that story or plot is not necessary for immersion, since atmosphere, sound, and space alone can produce it?

A: Presence Effect

Q: Which elements are described in the following passage: factors that can generate immersion even without plot by making the viewer feel situated in a cinematic world?

A: Sound, Space, and Atmosphere

Q: Which film is described in the following passage: a work in which the loss of the senses reveals human interconnectedness and embodied experience?

A: Perfect Sense

Q: Which key idea is described in the following passage: the notion that sensory loss in a film reveals how deeply humans are connected to one another through bodily existence?

A: Human Interconnectedness through Sensory Loss

Q: Which concept is described in the following passage: the idea that bodily existence and lived sensory experience become more visible when senses begin to disappear?

A: Embodied Experience

Q: Which pattern is described in the following passage: before each sensory faculty disappears, the film presents a phase of emotional intensification?

A: Emotional Intensification Before Sensory Loss

Q: Which film is especially useful for discussing affect, embodiment, sensory loss, and interconnectedness?

A: Perfect Sense

Q: Which concept is described in the following passage: the idea that viewing is not neutral but shaped by cultural forces, power structures, and institutions?

A: Spectatorship

Q: Which theory is described in the following passage: the idea that the viewer’s position is shaped by culture, power, and institutions rather than by individual, neutral perception?

A: Spectatorship

Q: Which concept is described in the following passage: the process by which images “call” viewers into ideology and position them as certain kinds of subjects?

A: Interpellation

Q: Which concept is described in the following passage: a historical condition in which systems of vision become linked to knowledge and control, so that seeing becomes a means of power? also —> the belief that seeing leads to knowing, and knowing leads to controlling?

A: Modernity

Q: Which systems are described in the following passage: examples of modern structures in which vision is linked to knowledge and control?

A: Surveillance, Photography, and Cinema

Q: Which concept is described in the following passage: not simply looking, but a historically, culturally, and ideologically shaped act that produces power relations between viewer and viewed? —> also a visual relation that positions a viewer in power over the object being looked at

A: The Gaze

Q: Which intellectual tradition is described in the following passage: an approach in which the gaze helps explain spectatorship and the unconscious processes that structure looking?

A: Psychoanalysis

Q: Which concept is described in the following passage: Western fetishization, mythologization, and fear of the cultures, lands, and peoples of Asia and the Middle East?

A: Orientalism

Q: Which model is described in the following passage: a structure of surveillance in which constant visibility becomes a means of social control? —> also. a system in which people are controlled because they may always be watched?

A: Panopticon

Q: Which concept is described in the following passage: the regulation of bodies and populations through systems of power and management? also —> a form of power that manages reproduction, bodily life, and the biological existence of populations

A: Biopower

Q: Which film is described in the following passage: a surveillance society featuring genetic screening, controlled reproduction, and bodily regulation?

A: Code 46

Q: Which process in Code 46 is described in the following passage: a form of bodily control through the monitoring of heredity and reproduction?

A: Genetic Screening

Q: Which effect is described in the following passage: the formation of the self through an awareness that one is visible to and judged by others?

A: Subjectivity Produced by the Gaze

Q: Which concept is described in the following passage: the idea that sound is not unified or simple, but layered, complex, and constructed?

A: Sound as Heterogeneous

Q: Which theorist argues that sound should be understood as layered, complex, and constructed rather than as a single transparent element?

A: Rick Altman

Q: Which idea is described in the following passage: the notion that listeners perceive spatial environment through sound, especially through the way sound reverberates?

A: Sound as Environment

Q: Which sound property is described in the following passage: the echoing or reflecting quality that helps us perceive space acoustically?

A: Reverberation

Q: Which type of sound is described in the following passage: sound that is not simply real or direct, but deliberately designed to feel believable?

A: Rendered Sound

Q: Which theorist is associated with the distinction between real and rendered sound in film?

A: Michel Chion

Q: Which distinction is described in the following passage: the difference between sound as it exists in the world and sound as cinema constructs it to create a believable impression?

A: Real vs. Rendered

Q: Which idea is described in the following passage: the claim that there is no natural harmony between sound and image, and that cinema manufactures their coherence?

A: Audiovisual Illusion of Unity

Q: Which idea is described in the following passage: the notion that a film sound feels truthful not because it is accurate, but because it renders the emotional feel of a situation?

A: Sound Truth as Emotional Credibility

Q: Which concept is described in the following passage: the principle that realism in film sound depends on affective fit rather than factual accuracy?

A: Emotional Credibility

Q: Which support functions are described in the following passage: things enabled by the illusion that sound and image belong together?

A: Narrative Coherence and Spectator Immersion

Q: Which concept is described in the following passage: the idea that trying to use pure, unedited sound in film often feels unnatural because real-world sound does not translate directly to cinema?

A: Anti-naturalism

Q: Which sound term is described in the following passage: the expressive quality or tone-color of a sound?

A: Timbre

Q: Which sound term is described in the following passage: the perceived realism or believable quality of recorded sound?

A: Fidelity

Q: Which sound term is described in the following passage: sound whose source remains unseen?

A: Acousmatic Sound

Q: Which overall idea is described in the following passage: film sound is always designed, manipulated, and rendered rather than simply real?

A: Sound is Constructed

Q: Which concept is described in the following passage: a bodily, pre-conscious intensity that exists prior to language and fixed meaning? —> Also, autonomic and disconnected from clear narrative sequencing

A: Affect

Q: Which contrast is described in the following passage: the difference between bodily intensity before language and personal feeling fixed into subjective meaning?

A: Affect vs. Emotion

Q: Which term is described in the following passage: subjective content that fixes the quality of an experience as personal and meaningful?

A: Emotion

Q: Which concept is described in the following passage: the idea that affect actively moves the body and produces responses such as tension, discomfort, or pleasure?

A: Force of Affects

Q: Which concept is described in the following passage: the idea that affects are shaped not only by individual feeling but also by memory, culture, and history?

A: Weight of Histories

Q: Which formula is described in the following passage: the notion that affect should be understood as the body shaped by historical and cultural context?

A: Affect = Body + History

Q: Which approach is described in the following passage: a way of understanding cinema through what it does to the viewer rather than what it symbolically represents?

A: Anti-representational Approach

Q: Which film is described in the following passage: a three-screen installation based on women’s experiences of psychosis, often used to discuss affect, identity, and perception?

A: The House

Q: Which concept is described in the following passage: the idea that sound can express a character’s psychological condition rather than merely represent external reality?

A: Sound as Psychological State

Q: Which concept is described in the following passage: a breakdown of stable, coherent space in film, producing instability in how environment is perceived?

A: Spatial Instability

Q: Which concept is described in the following passage: the presentation of identity and perception as broken, split, or unstable through form?

A: Fragmentation

Q: Which concept is described in the following passage: the bodily responsiveness of the embodied subject that allows art to act on viewers before meaning is fully formed?

A: Affectivity of the Embodied Subject