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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. Another name for continuity editing
montage
Point-of-view shot
invisible editing
movement editing
2. Entire scene in one take
sequence shot
rhythmic editing
two-shot
invisible editing
3. 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.
Point-of-view shot
segmentation
continuity editing
shot/reverse-shot
4. Temporal relation of shots and scenes to the amount of time that passes in the story
reestablishing shot
axis of action
duration
nondiegetic insert
5. Film interrupts the action to 'cut away' to another image or action
cutaway
rhythmic editing
establishing shot
analytical editing
6. Dividing up the narrative into large units
long takes
segmentation
visible editing
dissolve
7. Multiple shots of the same action; disrupts continuity
montage
scene
modernism
overlapping editing
8. Continuity editing that establishes spatial and temporal clarity by breaking down a scene - often using progressively tighter framings that remain consistent spatial relations
two-shot
long takes
analytical editing
pace
9. Join two images by moving a line across one image to replace it with the next
ellipsis
wipes
overlapping editing
Point-of-view shot
10. Any number of shots that are unified as a coherent action - regardless of space and time
match on action
sequence
establishing shot
intercut
11. 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.
fade-out
shot/reverse-shot
reaction shot
overlapping editing
12. Shown through a character's eyes
montage
two-shot
Point-of-view shot
montage
13. Tempo at which the film seems to move
cutaway
verisimilitude
overlapping editing
pace
14. The direction and pace of actions - gestures - and other movements are linked with corresponding or contrasting movements in one or more other shots
establishing shot
movement editing
graphic match
reaction shot
15. Periodic return to an initial establishing view
long takes
Point-of-view shot
reestablishing shot
continuity editing
16. Organization of editing according to different paces or tempos determined by how quickly cuts are made
sequence shot
overlapping editing
rhythmic editing
movement editing
17. Alternating between two or more strands of simultaneous action
axis of action
180-degree rule
dissolve
crosscutting
18. Alternating between two or more strands of simultaneous action
crosscutting
wipes
establishing shot
nondiegetic insert
19. Brief shot filmed separately from a scene and inserted during editing...points out details significant to the action
dissolve
eyeline match
insert
reaction shot
20. Direction of an action is edited to a shot depicting the continuation of that action
visible editing
fade-out
Point-of-view shot
match on action
21. A relatively close shot of two characters
alienation effects
two-shot
establishing shot
duration
22. Depicts a character's response to something the viewers have just been shown
fade-in
reaction shot
Point-of-view shot
scene
23. Imaginary line bisecting a scene corresponding to the 180-degree rule
pace
continuity editing
modernism
axis of action
24. 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.
disjunctive editing
overlapping editing
jump cut
Point-of-view shot
25. Film interrupts the action to 'cut away' to another image or action
cutaway
insert
fade-in
sequence shot
26. 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.
jump cut
scene
ellipsis
disjunctive editing
27. One or more shots that describe a continuous space - time - and action
fade-out
Point-of-view shot
fade-in
scene
28. Screen darkens
fade-out
establishing shot
modernism
jump cut
29. Another name for disjunctive editing
intercut
Point-of-view shot
visible editing
dissolve
30. 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
axis of action
pace
180-degree rule
nondiegetic insert
31. Tempo at which the film seems to move
long takes
chronology
pace
eyeline match
32. Insert that breaks continuity
scene
30-degree rule
sequence
nondiegetic insert
33. Edits that intentionally create gaps in action
reaction shot
jump cut
rhythmic editing
chronology
34. Fragmentation of time and space
fade-out
modernism
duration
segmentation
35. Organization of editing according to different paces or tempos determined by how quickly cuts are made
sequence shot
structural film
graphic match
rhythmic editing
36. Initial long shot that establishes setting and orients the viewer in space to a clear view of the action
establishing shot
scene
fade-out
scene
37. Multiple shots of the same action; disrupts continuity
Point-of-view shot
structural film
fade-in
overlapping editing
38. 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.
30-degree rule
disjunctive editing
structural film
alienation effects
39. Entire scene in one take
overlapping editing
sequence shot
sequence
jump cut
40. Follows a predetermined structure
structural film
sequence shot
visible editing
continuity editing
41. Style emphasizing the breaks and contrasts between images joined by a cut
cutaway
wipes
montage
fade-in
42. Appearance of truth
eyeline match
visible editing
establishing shot
verisimilitude
43. Shots of relatively long duration
disjunctive editing
180-degree rule
long takes
overlapping editing
44. Screen lightens
fade-out
modernism
analytical editing
fade-in
45. Insert that breaks continuity
analytical editing
nondiegetic insert
axis of action
alienation effects
46. 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
reestablishing shot
modernism
eyeline match
movement editing
47. Any number of shots that are unified as a coherent action - regardless of space and time
sequence
nondiegetic insert
jump cut
duration
48. One or more shots that describe a continuous space - time - and action
reestablishing shot
graphic match
scene
insert
49. Screen lightens
establishing shot
chronology
fade-in
disjunctive editing
50. Establishes verisimilitude - constructs a coherent time - tells stories clearly and efficiently
continuity editing
overlapping editing
graphic editing
fade-out