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Mahopac Central School
District Curriculum 2003-04
Mr. Purr
Lit. and Film
Name _____________________
Mahopac High School
Movies and Meaning
Chapter One Exam
Multiple Choice
1. Which of the following is not an element of film structure
a. sound
b. theme
c. editing
d. production design
e. narrative
2. Chaplin effectively conveyed the emotions of his characters by carefully
employing
a. camera position
b. camera angle
c. camera movement
d. camera lens
3. In Psycho and Shadow of a Doubt, Hitchcock's high camera angles
a. are used to confuse the viewer about the story events taking place,
thereby heightening suspense (which is based on uncertainty about the
probable outcome of events)
b. give the viewer a sweeping, panoramic view of the action, making the
story easier to follow
c. tend to play against the viewer's desire for close involvement with the
characters
d. are used as establishing shots to introduce the overall layout of a scene
4. The greatest depth of field is captured by a
a. telephoto lens
b. normal lens
c. zoom lens
d. wide-angle lens
5. Which of the following is not true about a zoom lens
a. Zooming in will magnify distant objects
b. The zoom lens permits a filmmaker to shift from wide-angle to telephoto
perspectives within a shot
c. The zoom lens supplies motion perspective
d. The zoom lens creates the appearance of camera movement
6. Some filmmakers prefer particular focal lengths. An example of a director
who prefers wide-angle lenses is

Mahopac Central School
District Curriculum 2003-04
a. Orson Welles
b. Akira Kurosawa
c. Alfred Hitchcock
d. Charles Chaplin
7. If a filmmaker wished to add visual energy to a scene by capturing a
character's rapid motion in an exciting way, the filmmaker should employ a
a. pan shot
b. tilt shot
c. tracking shot
d. boom shot
8. The perception of apparent motion on screen is most closely related to the
factor of
a. beta movement
b. persistence of vision
c. flicker fusion
d. intermittent motion
9. The elements of film structure
a. tend to differ from, or transform, the viewer's real-world visual and social
experience
b. tend to correspond with the viewer's real-world visual and social
experience
c. tend to both transform, as well as correspond with, the viewer's real-world
visual and social experience
d. have little or no relation to the viewer's real-world experience because
cinema is based on an illusion of motion and three-dimensions
10. Chaplin's formula for guiding his camera placements can be stated as:
a. use of a moving camera to follow motion
b. high angle for comedy, eye-level angle for drama
c. long shot for drama, close-up for comedy
d. long shot for comedy, close-up for tragedy
11. A filmmaker who frequently used camera position to play against the viewer's
desire for emotional involvement with the reaction of a character is
a. Charlie Chaplin
b. Orson Welles
c. Alfred Hitchcock
d. Oliver Stone
12. Hitchcock's most influential film was
a. Psycho
b. Rear Window

Mahopac Central School
District Curriculum 2003-04
c. North by Northwest
d. Frenzy
13. This lens will produce a very small angle of view
a. wide-angle
b. telephoto
c. normal
d. none of the above
14. The famous shot in Gone with the Wind where the camera moves up to a
high angle to show a large group of wounded and dead soldiers at the
railroad station is an example of a
a. tilt
b. dolly
c. pan
d. crane
15. Cinematography occurs during the filmmaking stage of
a. pre-production
b. post-production
c. production
d. pre-visualization
16. The chief artistic authority of a film production generally resides with the
a. producer
b. director
c. editor
d. the production team as a whole
17. This camera angle is often used to make the world look off-kilter or to
express a character's anxiety or disorientation
a. low
b. high
c. bird's eye
d. canted
18. The area within the frame from foreground to background that remains in
focus is the
a. area of view
b. angle of view
c. area of focus
d. depth of field
19. To make objects on screen seem closer to the camera than they really are, a
filmmaker would use

Mahopac Central School
District Curriculum 2003-04
a. a wide-angle lens
b. a telephoto lens
c. a normal lens
d. a magnifying lens
20. This lens often facilitates the staging of stunts:
a. a wide-angle lens
b. a telephoto lens
c. a normal lens
d. a magnifying lens
21. This filmmaker is often credited with discovering the artistic potential of the
moving camera:
a. Orson Welles
b. Alfred Hitchcock
c. Charles Chaplin
d. F.W. Murnau
22. Steven Spielberg and his cinematographer on Saving Private Ryan used
some unusual filmic techniques, including all of these EXCEPT
a. flashing
b. ENR
c. mixing black and white with color film
d. lenses that had been stripped of their protective coating
23. "Virtual cinematography" in The Matrix consisted of creating an illusion of
a. depth of field
b. camera movement
c. camera angle
d. telephoto perspective
24. On A.I.: Artificial Intelligence, Steven Spielberg and cinematographer Janusz
Kaminski used cool colors and wide-angle lenses to evoke the style of this
director, who had originally planned to make the film:
a. Steven Soderbergh
b. Orson Welles
c. Alfred Hitchcock
d. Stanley Kubrick
Essay
Answer two of the following :
1. Explain the concept of film structure and the role of the director in relation to
the task of structural design.

Mahopac Central School
District Curriculum 2003-04
2. What is aspect ratio, and what happens when widescreen ratios must be
reformatted for television
3. Explain the different optical characteristics of telephoto and wide-angle
lenses.
4. How does cinema correspond with, and transform, the viewer's real-world
visual and social experience
5. What are the characteristics of pan and tilt shots, tracking shots and crane
shots