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Test your basic knowledge |
Film Editing
Start Test
Study First
Subjects
:
performing-arts
,
film
Instructions:
Answer 50 questions in 15 minutes.
If you are not ready to take this test, you can
study here
.
Match each statement with the correct term.
Don't refresh. All questions and answers are randomly picked and ordered every time you load a test.
This is a study tool. The 3 wrong answers for each question are randomly chosen from answers to other questions. So, you might find at times the answers obvious, but you will see it re-enforces your understanding as you take the test each time.
1. Dividing up the narrative into large units
segmentation
pace
verisimilitude
rhythmic editing
2. Organization of editing according to different paces or tempos determined by how quickly cuts are made
rhythmic editing
overlapping editing
two-shot
analytical editing
3. A relatively close shot of two characters
two-shot
segmentation
30-degree rule
jump cut
4. Abridgment in time of the narrative implied by editing
graphic editing
crosscutting
ellipsis
establishing shot
5. Screen lightens
chronology
crosscutting
fade-in
shot/reverse-shot
6. Establishes verisimilitude - constructs a coherent time - tells stories clearly and efficiently
continuity editing
duration
sequence shot
match on action
7. Shots of relatively long duration
long takes
duration
visible editing
intercut
8. Tempo at which the film seems to move
verisimilitude
wipes
analytical editing
pace
9. Alternating between two or more strands of simultaneous action
crosscutting
graphic match
insert
fade-out
10. Multiple shots of the same action; disrupts continuity
segmentation
overlapping editing
shot/reverse-shot
sequence shot
11. The direction and pace of actions - gestures - and other movements are linked with corresponding or contrasting movements in one or more other shots
chronology
graphic editing
movement editing
crosscutting
12. A variety of alternative practices that call attention to the cut through spatial tension - temporal jumps - or rhythmic or graphic pattern so as to affect viscerally - disorient - or intellectually engage the viewer.
montage
sequence shot
disjunctive editing
axis of action
13. Alternating between two or more strands of simultaneous action
crosscutting
ellipsis
axis of action
structural film
14. Brief shot filmed separately from a scene and inserted during editing...points out details significant to the action
movement editing
30-degree rule
insert
duration
15. Imaginary line bisecting a scene corresponding to the 180-degree rule
establishing shot
movement editing
axis of action
fade-in
16. Style emphasizing the breaks and contrasts between images joined by a cut
invisible editing
nondiegetic insert
eyeline match
montage
17. Another name for continuity editing
establishing shot
visible editing
insert
invisible editing
18. One or more shots that describe a continuous space - time - and action
scene
ellipsis
establishing shot
axis of action
19. Insert that breaks continuity
match on action
nondiegetic insert
segmentation
reaction shot
20. Initial long shot that establishes setting and orients the viewer in space to a clear view of the action
visible editing
crosscutting
invisible editing
establishing shot
21. Restricts possible camera setups to the 180-degree area on one side of an imaginary line drawn between the characters or figures of a scene
180-degree rule
two-shot
cutaway
eyeline match
22. If a character looks offscreen - the next shot will likely show the character or object that the character is looking at in a screen position that matches the gaze
movement editing
scene
eyeline match
wipes
23. Begins with the shot of one character taken from an angle at one of the axis of action - continues with a shot of the second character from the reverse angle at the other end of the axis - and proceeds back and forth.
graphic editing
shot/reverse-shot
montage
fade-in
24. Another name for continuity editing
30-degree rule
axis of action
visible editing
invisible editing
25. And edit through which a dominant shape or line in one shot provides a visual transition to a similar shape or line in the next shot
cutaway
modernism
graphic match
movement editing
26. Periodic return to an initial establishing view
continuity editing
shot/reverse-shot
match on action
reestablishing shot
27. One shot must be followed by another shot taken from at least 30 degrees from that of the first. A transition between two shots less than 30 degrees apart is perceived as unnecessary.
jump cut
ellipsis
two-shot
30-degree rule
28. Interspersed
fade-out
sequence
180-degree rule
intercut
29. Fragmentation of time and space
modernism
long takes
establishing shot
movement editing
30. Shown through a character's eyes
30-degree rule
Point-of-view shot
establishing shot
analytical editing
31. The order according to which shots or scenes convey the temporal sequence of the story's events
shot/reverse-shot
visible editing
axis of action
chronology
32. Appearance of truth
wipes
eyeline match
verisimilitude
pace
33. A relatively close shot of two characters
modernism
two-shot
pace
wipes
34. Imaginary line bisecting a scene corresponding to the 180-degree rule
axis of action
reaction shot
continuity editing
duration
35. Film interrupts the action to 'cut away' to another image or action
two-shot
fade-in
cutaway
two-shot
36. One or more shots that describe a continuous space - time - and action
axis of action
scene
fade-in
180-degree rule
37. Shown through a character's eyes
30-degree rule
Point-of-view shot
match on action
crosscutting
38. Temporal relation of shots and scenes to the amount of time that passes in the story
rhythmic editing
ellipsis
two-shot
duration
39. Periodic return to an initial establishing view
modernism
dissolve
alienation effects
reestablishing shot
40. Entire scene in one take
sequence shot
30-degree rule
ellipsis
eyeline match
41. Restricts possible camera setups to the 180-degree area on one side of an imaginary line drawn between the characters or figures of a scene
ellipsis
shot/reverse-shot
180-degree rule
overlapping editing
42. Style of editing creating formal patterns of shapes - masses - colors - lines - and lighting patterns through links between shots
intercut
segmentation
graphic editing
30-degree rule
43. Interspersed
180-degree rule
continuity editing
reaction shot
intercut
44. If a character looks offscreen - the next shot will likely show the character or object that the character is looking at in a screen position that matches the gaze
reaction shot
eyeline match
analytical editing
match on action
45. Tempo at which the film seems to move
crosscutting
rhythmic editing
pace
sequence
46. One shot must be followed by another shot taken from at least 30 degrees from that of the first. A transition between two shots less than 30 degrees apart is perceived as unnecessary.
axis of action
30-degree rule
fade-in
nondiegetic insert
47. Depicts a character's response to something the viewers have just been shown
duration
alienation effects
reaction shot
intercut
48. Any number of shots that are unified as a coherent action - regardless of space and time
wipes
nondiegetic insert
overlapping editing
sequence
49. Screen lightens
movement editing
fade-in
overlapping editing
insert
50. A variety of alternative practices that call attention to the cut through spatial tension - temporal jumps - or rhythmic or graphic pattern so as to affect viscerally - disorient - or intellectually engage the viewer.
180-degree rule
disjunctive editing
pace
segmentation