Film- Prof. 1- Term One Test (Exam Review)

According to Edward Dmytryk, all scenes should begin and end with continuing action. This suggests that a scene is a complete unit of plot action, incorporating one or more shots. This explanation aligns with Dmytryk's argument and the idea that a scene is a self-contained segment of the plot that progresses the story. It also implies that a scene consists of multiple shots, indicating that it involves different camera angles or perspectives to capture the action.

The correct answer suggests that the film "Fireworks (Hana-Bi)" uses a disruptive style that is unsettling and proactive. This means that the editing techniques used in the film are meant to disturb and provoke the audience, keeping them engaged and on edge. The editing may involve abrupt cuts, unconventional transitions, or unexpected juxtapositions of images. This disruptive style adds tension and excitement to the film, making it a unique and immersive experience for the viewer.

The term "cross-cutting" refers to a movement between different story lines. This technique is used in films like Crash, Grand Canyon, and Short Cuts to show multiple narratives happening simultaneously and how they intersect with each other. It allows the audience to see different perspectives and understand the interconnectedness of the characters and their stories.

The sequence in Crash is edited in a way that allows the spectator to enter the close, emotionally relationship between the father and the son. The editing techniques used create a sense of intimacy and connection between the two characters, drawing the viewer into their relationship. This allows the audience to better understand and empathize with the characters and their emotional dynamics.

The correct answer is Mumbai because the majority of the film Slumdog Millionaire is set in this city. The story follows the life of Jamal Malik, a young man from the slums of Mumbai, as he participates in the Indian version of the game show Who Wants to Be a Millionaire. The film showcases various locations in Mumbai, including the slums, train stations, and iconic landmarks like the Taj Mahal Palace Hotel. Mumbai serves as a backdrop to portray the struggles and aspirations of the characters in the movie.

The correct answer is a Japanese man's attempt to fulfill his responsibilities. This can be inferred from the statement that the director's purpose in making Fireworks was to show a Japanese man's attempt to fulfill his responsibilities.

A pillow shot is a shot in a film that provides a momentary pause or break in the narrative, allowing the audience's attention to rest and reflect. It is often an empty shot, devoid of any action or dialogue, and serves as a visual punctuation mark. This technique is used to create a sense of calm and contemplation, allowing the viewer to absorb and process the preceding scenes. By providing a moment of stillness, a pillow shot can enhance the overall pacing and rhythm of a film, and also provide a deeper emotional impact.

Early silent film makers began to tell stories, rather than show simple incidents. This suggests that the development of editing as a phase of filmmaking can be attributed to the shift from simply capturing and presenting everyday events to creating narrative-driven films. As filmmakers realized the potential of storytelling through film, they began to experiment with editing techniques to enhance the narrative structure and create more engaging and cohesive stories.

The correct answer is "post-Soviet Russia" because Nikita Mikhalkov, the director of Burnt by the Sun, stated that he intended to say something about the present as well as the past with the film. Since the film was set in 1936, it suggests that Mikhalkov wanted to comment on the attitudes and issues in post-Soviet Russia, which would have been the present time when the film was made. This indicates that the film was not only meant to depict the past but also to reflect on the contemporary society.

The correct answer is intercutting. In this scene, the long shots of characters in the hallway are alternated with close-ups of Marussya pouring a glass of water. This technique of intercutting helps to create tension and build suspense by juxtaposing different shots and perspectives. It also allows for the simultaneous depiction of different actions and events happening in different locations, enhancing the storytelling and visual dynamics of the scene.

"Intensified continuity" refers to a trend in recent popular cinema where filmmakers adhere to the traditional rules of classical continuity, such as maintaining a logical and coherent narrative, but with a more visually striking and impactful style. This means that while the basic principles of storytelling and editing are followed, there is a greater emphasis on creating visually engaging and dynamic shots to enhance the overall cinematic experience.

The phrase "continuity editing" refers to editing techniques that are used to tell a story in the best way possible. This means that the editing process focuses on maintaining continuity and coherence in the narrative, ensuring that the story flows smoothly and is easy for the audience to follow. It involves techniques such as matching cuts, establishing shot-reverse shot sequences, and maintaining consistent spatial and temporal relationships between shots. The goal is to create a seamless and engaging viewing experience for the audience.

Sergei Eisenstein believed that editing in film can create a discontinuity in the flow of action, which prompts spectators to generate their own ideas and interpretations. This means that by editing the sequence to not show the violent action itself, the audience is left to imagine and fill in the gaps, stimulating their active engagement with the film.

The correct answer suggests that the filmmakers intentionally chose to cut from the first shot to the second in order to provoke viewer engagement through disorientation. This means that they wanted to create a sense of confusion or surprise in the audience, making them more actively involved in the film and its storytelling.

According to the "Rule of Six" formulated by Walter Murch, the most important reason for making a cut from one shot to another is that it is true to the emotion of the scene. This means that the cut should be made in a way that enhances the emotional impact of the scene and effectively conveys the intended emotions to the audience. By aligning the cuts with the emotional content of the scene, the editor can create a more immersive and engaging experience for the viewers.

The editor would not have had to decide the order of successive shots because the question states that the sequence of Officer Ryan interacting with his father "as it appeared in Crash" is being worked on. This implies that the shots are already in a specific order as determined by the director or previous editor, and the current editor does not have the freedom to rearrange them.

The two successive shots from a sequence in Slumdog Millionaire exemplify the editing pattern of shot/reverse shot. This pattern is commonly used in filmmaking to depict a conversation or interaction between two characters. It involves alternating shots between the characters, with one shot showing the character speaking or reacting and the other shot showing the character they are interacting with. This technique helps to create a sense of continuity and engagement between the characters and enhances the overall storytelling.

The term "time code" typically refers to a system used for identifying individual frames in a film. This system assigns a unique code to each frame, allowing for precise identification and synchronization of specific moments in the film. It is commonly used in post-production processes such as editing, visual effects, and sound design, where accurate frame referencing is crucial. This helps filmmakers and technicians to easily locate and work with specific frames or sections of the film.

The correct answer is the band carrying Stalin's image is already playing and marching. This is because the question asks for the reason why the "Arrival of the Summer Santa" scene in Burnt by the Sun may be said to begin with continuing action. The fact that the band is already playing and marching suggests that the scene is a continuation of a previous event or plot line.

David Bordwell's description of "intensified continuity" refers to a style of filmmaking characterized by rapid editing, close framings in dialogue scenes, and a free-ranging camera. However, it does not include the use of a stationary camera.

Shaping the rhythmic pattern of successive shots can help create a rising tension in the scene. By carefully selecting the duration and pacing of each shot, the editor can manipulate the audience's emotions and build anticipation. By gradually increasing the tempo or using quick cuts, the editor can create a sense of urgency and heighten the tension between Rick and Ilsa as they quarrel. This technique allows the editor to control the rhythm and pacing of the scene, enhancing the overall impact on the viewer.

The director might want the viewer to feel the intensity and claustrophobia of the argument and fight between Rick and Ilsa by immersing them in the busy atmosphere of the restaurant. By using the uncut master shot for most of the sequence, the director can maintain a continuous flow and capture the entire scene without any interruptions or cuts. This will allow the audience to experience the escalating tension in real-time, making them feel like they are right there in the restaurant with the characters.

According to Vinca Wiedemann, successful films prompt spectators to use their imaginations between the gap of one shot to the next. This means that the editing in these films is done in a way that allows the audience to fill in the gaps and make connections between different shots. The film relies on the viewer's imagination to create a seamless flow and continuity between shots, making the editing less consciously perceivable.

An axis of action refers to the imaginary horizontal line between the main characters being photographed. This line guides the characters through their movements in the scene being shot, ensuring consistency and coherence in their actions. It helps to maintain the spatial relationship between the characters and the camera, allowing for smooth and logical progression within the scene.

The cut between these two shots in Fireworks (Hana-Bi) exemplifies the concept-generating principle that Sergei Eisenstein located in the Japanese system of writing, and that he referred to as montage. Montage refers to the technique of juxtaposing different shots or images together to create a new meaning or idea. In this case, the cut between the shots in Fireworks is likely used to create a specific effect or convey a particular message to the audience.