FILM 100 QUIZ 4.1

Fill

Less powerful form of lighting

Putting into the scene

What does mise-en-scene mean in its original language?

plays

Mise-en-scene was first applied in the practice of directing _____ (plural)

Mise-en-scene

The term used to signify the director’s control over what appears in the film frame.

Setting; Lighting; Costume and Makeup; Staging

A filmmaker’s areas of choice and control within mise-en-scene (4)

Georges Melies

Cinema’s first master of the technique of using mise-en-scene to achieve fantasy

Star-Film

Georges Méliès’s “________” studio made hundreds of short fantasy and trick films based on a strict control over every element in the frame

active

Setting plays a more ______ role in cinema than it usually does in the theater.

studio facilities

Commercial filmmaking became centered on ______ ________ in which every aspect of mise-en-scene could be manipulated.

prop, property

In manipulating a shot’s setting, the filmmaker may use a ____, short for _______

prop

When an object in the setting has a function within the ongoing action, we can call it a ____

gags

Comedies often use props to create ____ (plural)

causal

Costumes can play ______ roles in film plots.

virtual

Computer technology can graft ______ costumes onto fully computer-generated characters

makeup

Many of the stated points about costume apply equally to a closely related area of mise-en-scene: the actors’ ______

horror, science fiction

Makeup is most noticeable in ______ and _______ _______ films

Rubber, plasticine

______ and __________ compounds can create bumps, bulges, extra organs, and layers of artificial skin.

enlarge

Lengthened eyebrows can ______ the face

compact

Shorter brows make the face seem more _______

rising, sloping

Eyebrows plucked in a slightly _____ curve add gaiety to the face, but slightly ______ ones hint at sadness.

men

Thick, straight brows commonly applied to ___ reinforce the impression of a hard, serious gaze

Lighter, darker

_______ and ______ areas within the frame help create the overall composition of each shot and guide our attention to certain objects and actions. (In terms of lighting)

highlights, shadows

Lighting shapes objects by creating _________ and _______ (plural)

highlight

A ________ is a patch of relative brightness on a surface

smooth

If the surface is ______, like glass or chrome, the highlights tend to gleam or sparkle

rough

A _____ surface, like a coarse stone facing, yields more diffuse highlights

Shadows

Allow objects to have portions of darkness

Quality; Direction; Source; Color

Four major aspects of lighting

Lighting quality

Refers to the relative intensity of the illumination

Hard lighting

Creates clearly defined shadows, crisp textures, and sharp edges

Soft lighting

Creates a diffused illumination.

hard, soft

In nature, the noonday sun creates ____ light, whereas an overcast sky creates ____ light.

Direction

Refers to the path of light from its source or sources to the object lit.

Frontal lighting; Sidelighting; Backlighting; Underlighting; Top lighting

5 directions in lighting films

Frontal lighting

Can be recognized by its tendency to eliminate shadows; its result is a fairly flat-looking image (Type of Direction in Lighting)

Sidelighting

Type of direction in lighting that sculpts a character’s features

Crosslight

Another term for a sidelight

Backlighting

Type of direction in lighting that comes from behind the subject; it tends to create silhouettes

Edge lighting or Rim lighting

A backlight combined with more frontal sources of light, will create a subtle contour; what is this type of backlighting called?

Underlighting

Type of direction in lighting which comes from below the subject; it tends to distort features, accordingly, it is often used to create dramatic horror effects

Top lighting

Type of direction in lighting wherein a spotlight shines down from almost directly above, creating a glamorous image

Key light; Fill light

Two primary sources of lighting

Key light

The primary source of lighting, providing the brightest illumination and casting the strongest shadows; the most directional light

Fill

A less intense illumination that softens or eliminates shadows cast by the key light.

key, fill

By combining ___ and ____, and by adding other sources, lighting can be controlled quite exactly.

True

The key lighting source can be aimed at the subject in as many angles as possible (True or False)

3

Classical Hollywood filmmaking developed the custom of using at least _ light sources per shot (Number)

Key light; Fill light; Backlight

The light sources used in Classical Hollywood filmmaking (3)

behind, above, diagonally, near

The most basic arrangement of three-point lighting on a single figure is as follows: The backlight typically comes from ______ and _____ the figure, the key light comes __________ from the front, and a fill light comes from a position ____ the camera.

Background lighting or Set lighting

Fill lights other than the main fill light source

Eye lights

Small lights close to the camera

studio

Three-point lighting emerged during the _____ era of Hollywood filmmaking

High-key lighting

Overall lighting design that uses fill light and backlight to create relatively low contrast between brighter and darker areas.

soft, transparent

In usual usages of high-key lighting, the light quality is ____, making shadow areas fairly ___________

High-key lighting

An overall approach to illumination that can suggest different lighting conditions or times of day.

Low-key lighting

Creates stronger contrasts and sharper, darker shadows

hard

When low-key lighting is used, the lighting is ____, and fill light is lessened or eliminated altogether.

Chiaroscuro

Extremely dark and light regions within the image

Low-key lighting

Often applied to somber, threatening, or mysterious scenes; it was common in 1930s horror films and film noirs of the 40s and 50s.

white, yellow

We tend to think of film lighting as limited to two colors: the ____ of sunlight or the soft ______ of incandescent room lamps.

Stop-action or Stop-motion

Puppets may be manipulated frame by frame through what technique?

visual, sound

An actor’s performance consists of ______ elements and _____

silent

At times, of course, an actor may contribute only visual aspects, as in _____ movies.

New York Actors Studio style

Yet in the early 1950s, what style of acting, as exemplified by Marlon Brando’s performances in On the Waterfront and A Streetcar Named Desire, was thought to be extremely realistic?

Neorealist

Post–World War II Italian _________ films were hailed as almost documentary depictions of Italian life

Comedies

What genre of film seldom strives for surface realism within the realm of acting? (Plural)

Fantasy

Other than comedies, what genre of films also encourage stylized performance?

mouth, eyebrows, eyes

The most expressive parts of the face as seen in cinema, are the _____, ________, and ____.

attitude

How a character walks, stands, or sits conveys a great deal about personality and ________.

attitude

In the 18th and 19th centuries, _______ used to refer to the way a person stood

Stage acting

What type of acting gave early films a repertoire of postures that could express a character’s state of mind?

Individualized; Stylized

Two dimensions of performance

Classical Hollywood

What era of narrative filmmaking was built on ideologically stereotyped roles?

typecasting

Through ___________, actors were selected and directed to conform to what audiences expected.

typage

The 1920s Soviet filmmakers adapted a principle called ______, where an actor was expected to portray a typical representative of a social class or historical movement.

Motion capture

Where the whole body is filmed with capture dots

Performance capture

The capture dots are concentrated solely on the face.

False (Film Actor)

A stage actor must be able to adjust to any type of camera distance (True or False)

Faces; Hand gestures; Dialogue

The primary points of attention in an actor’s performance (3)

Overlap

What spatial cue refers to when a character’s body masks things farther away in the frame?

right, left, bilateral symmetry

Because the film frame is a horizontal rectangle, the director usually tries to balance the _____ and ____ halves. The extreme type of such balancing is referred to as ________ _________

loose

More common than such near-perfect symmetry is a _____ balancing of the shot’s left and right regions.

human body

The simplest way to achieve compositional balance is to center the frame on the _____ ____.

limited palette

What painters call a ______ ______ involves a few colors in the same range.

monochromatic

An extreme case of the principle of using limited palettes in film is sometimes called ______________ color design, where the filmmaker emphasizes a single color, varying it only in purity or lightness.

Movement

What one resource does a film have but a painting lacks?

Depth cues

What do you call the elements of the image that create the impression of seeing shapes on the screen as presenting a three-dimensional area?

real, earlier

We develop our understanding of depth cues from our experience of ____ locales and from our _______ experience with pictorial media.

volume, planes

Depth cues suggest that a space has both ______ and several distinct ______.

solid, three

When we speak of an object as having volume, we mean that it is _____ and occupies a _____-dimensional area.

shape, shading, movement

A film suggests volume by _____, _______, and _________

Abstract film

What type of film, because it can use shapes that are not familiar objects, can create compositions without a sense of volume?

Planes

Layers of space occupied by persons or objects. (Plural)

Foreground; Middle ground; Background

Planes are described according to how close to or far away from the camera they are; Planes based on its distance on the camera (3)

overlapping

Color differences also create ___________ planes.

Movement

One of the most important depth cues because it strongly suggests both planes and volumes

Aerial perspective

Hazing of more distant planes

Size diminution

What depth cue is used when figures and objects farther away from us are seen to get proportionally smaller?

parallel

A strong impression of depth emerges when _______ lines converge at a distant vanishing point.

Off-center linear perspective

Type of filmic perspective in which the vanishing point is not the geometrical center of the frame.