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