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