FREN 1171 Module 2 EXAM and QUIZ Practice versions JARCHOW

FREN 1171—MODULE 2 PRACTICE TEST & QUIZ MODULE 2: Practice Test & Quiz True/False— based on the phrase or sentence, indicate its truth value (T or F). 10 questions (1 pt/each): 1. The film Jaws employs both diegetic and non-diegetic sound. a. T b. F 2. The film Double Indemnity is based on a novel by Dashiell Hammett. a. T b. F 3. Jean-Luc Godard is a ‘New Wave’ director. a. T b. F 4. German Expressionism influenced film noir. a. T b. F 5. A Sequence is the smallest unit in a film. a. T b. F 6. The New Wave cinematic style is characterized by expensive scenery. a. T b. F 7. Hearts and Minds is a documentary. a. T b. F 8. Sam Spade is a character associated with ‘New Wave’ cinema. a. T b. F 9. A scene involves several shots. a. T b. F 10. Billy Wilder is a film noir director. a. T b. F This Practice Test = valid for Module-level quiz, exam and as a study aid for the Final Exam This Practice Test = valid dates fall 2022, Winter 2023, Spring 2023, May and Summer 2023

FREN 1171—MODULE 2 PRACTICE TEST & QUIZ Identifications— A short single sentence or two that describes/identifies what is indicated. 10 questions (2 pts/each) 1. James M. Cain: 2. ‘Formalism’: 3. François Truffaut and Jean-Luc Godard : 4. Raging Bull falls where on the content-form spectrum? 5. Relationship between Aristotle and Manet’s painting A Girl with a Parrot : 6. Empire falls on which side of the content-form spectrum? 7. Content is to narrative as Form is to: 8. When a director ‘quotes’ another film this is called: 9. The sounds heard in the movie by the characters: 10. What is the filmic equivalent to a chapter in a novel? Short Answers— briefly explain (3-5 sentences max.) the concept or statement made in the question prompt. (5pts/each 11. Explain the establishing shot and its relevance to a film. 12. What made the Cahiers du Cinéma so important to the directors of the New Wave cinematic movement? 13. Briefly indicate the definition of ‘intertextuality’ as it pertains to the film. 14. What is the relationship between the French Film Archives (Cinémathèque Française) and the ‘New Wave’ directors?

FREN 1171—MODULE 2 PRACTICE TEST & QUIZ Module 2: Quiz practice answer key: Quiz: (1pt/each) 1. a 2. b 3. a 4. a 5. b 6. b 7. a 8. b 9. a 10. a Module 2: Exam practice answer key: Module-Level Exam: Identifications: (2pts/each) 1. The author of Double Indemnity (the film is based on this book). 2. Using formal elements such as lighting to convey meaning. 3. Two directors associated with the ‘New Wave’ cinematic movement. 4. Raging Bull is about in the middle-to-content side of the spectrum. 5. Aristotle discussed ‘mimesis’ which relates to cinema through a movie’s attempt to seem real. Manet’s painting contributes to the “mimetic tradition” by portraying/painting of an image/likeness of a real woman with a parrot. 6. Empire (1965), directed by Andy Warhol, is firmly on the Form side of the spectrum. 7. Lighting, Sound, Camera Angles (any of these three will work). 8. ‘Intertextuality’ is when directors or authors ‘quote’ one another. 9. Diegetic sound is sound heard within the world of the film. 10. It’s called a Sequence.

FREN 1171—MODULE 2 PRACTICE TEST & QUIZ Short Answer: (6pts/each) 11. An answer in which the student discusses how the Establishing Shot helps the audience get a sense of location and a broad overview of where the action will be taking place. Provides visual context. 12. The Cahiers du Cinéma played an important role in the ‘New Wave’ cinema movement because these ‘French Film Notebooks’ provided a space for directors and theorists to discuss new changes in filming techniques, differences between the cinéma du papa and the ‘New Wave’. 13. ‘Intertextuality’ is when one director references another film or director by paying a sort of homage to them through scenes which are redolent of the other director (to whom the respect/homage is being paid). 14. The relationship between the French Film Archives (Cinémathèque Française) and the ‘New Wave’ directors is characterized by how the Archives rendered available the movies that would have otherwise been unavailable to the ‘New Wave’ directors. In having access to this archive, the directors could study older films and hone their techniques. 15. Techniques employed by ‘New Wave’ directors include jump cuts, non-linear plot, filming outside of the studio (open-air filming); hand-held cameras and natural lighting are also characteristics of the ‘New Wave’. Both Module & Final Exam practice questions Short/Long Answer-type questions: ( 6pts or 10pts/each) 16. We can say that ‘Realism’ is a sort of film style in that the director uses techniques that portent to a realistic vision in the filmic world. An example of this is from the film Raging Bull (1980) where there are sounds of animals while the boxers are in the ring along with distorting the audio as the boxer approaches the ring and the black-and-white filming is suggestive of a realistic style. Scorcese also uses real TV ads and slow-motion filming. 17. The Production Code or ‘Code’ is a set of rules and regulations that the motion picture association created to define what is appropriate for displaying on the ‘big screen’. The code includes such provisions about the showing of sex = ‘a no-no’ and how minorities are supposed to be portrayed in a film. Two such examples from the film Double Indemnity are when the Italian is picking up the femme fatale ’s daughter, he is snippy and ill-tempered—a typical Italian. Another example is when Walter is setting up his alibi and hands his keys to the garage attendant who is a black man—a smiling fellow fulfilling a subservient role (the Production Code was in place before the Civil Rights movement).

FREN 1171—MODULE 2 PRACTICE TEST & QUIZ 1. What is “ intertextuality ” ? (1D) 2. Who is Sam Spade? (5A) 3. Where should we place Hearts and Minds on the “ Content – Form ” spectrum? (2A) 4. Why was the Cahiers du Cin é ma ( The French Film Notebooks ) important for the directors of the New Wave? (4C) 5. Who is Jean-Luc Godard? (5A) 6. Why was the Cin é math è que Fran ç aise (French Film Archives) important to the directors of the New Wave? (4C) 7. What is a frame? (mise-en-scene 1A) 8. What is an establishing shot? (mise-en-scene 1A) 9. Identify why Manet ’ s painting Girl with Parrot contributes to the “ mimetic tradition ” and how this influences “ realism ” ? (3D) 10. (2A) SHORT ANSWERS—5 questions: Briefly, using 3-5 sentences maximum/or a list where applicable, answer the following questions: 1. How does Billy Wilder use mise-en-sc è ne to communicate information in the film Double Indemnity ? Give two examples. (1A) 2. Through the use of mise-en-sc è ne Alfred Hitchcock reveals information that is confirmed in the narrative of the film Psycho ; however, in White Heat , Roaul Walsh, through mise-en-sc è ne, conveys information that is NOT part of the narrative. Explain this concept, with reference to the two films: Psycho and White Heat . (1B) 3. What are some of the basic characteristics of French New Wave filmmaking? (4A) 4. Why can we say that: “ realism is a style ” ? Use examples from the film clips of Raging Bull . (3B) 5. How does the director Martin Scorcese use formalism to create the illusion of Realism in Raging Bull (1980)? (3C) DISCUSSION QUESTION: (2B) Using examples from Module 2 to support your viewpoint, respond to the question: Are films ever able to get away from their “ content ” /aka to get away from telling a story ? Think of this question in terms of form versus content.