Visual Literacy Quiz#1

Front 1

What is rhetoric in this context?

Back 1

· The art of effective or persuasive speaking orwriting

Front 2

What is visual literacy?

Back 2

· Group of vision competencies developed bylearning to see images and integrating that action with other sensoryexperiences

Front 3

John Berger:

Back 3

· Images can be used like words

Front 4

What is the hypocrisy of the image of the nudefemale in the oil painting tradition?

Back 4

· Created for male spectator. It is “fine art,”but the woman is objectified for the pleasure of the male spectator-owner.

Front 5

Art expert explains away what isn’t in thepainting

Back 5

· Berger called: mystification

Front 6

When a group of dots are arranged to a line, linecloses to make:

Back 6

shape

Front 7

Additive color is created by ___

Back 7

· Combining rays of light

Front 8

Subtractive color created by ___

Back 8

· Combining Pigments

Front 9

Eye blends and organizes dot patterns intocoherent images this process is called:

Back 9

· Visual fusion

Front 10

Hues can be divided into two important cats:

Back 10

· Warm and cool

Front 11

Which 3 elements are essentially carryingcombinations of the others

Back 11

· Scale, dimension, motion

Front 12

What were the two main innovations that Muybridgeexperimented with that enabled him to capture motion in photography?

Back 12

· Shutter speed and light sensitive film

Front 13

We know motion pictures are not actually objectsmoving. It s a sequence of still photographs shown in quick succession. Weperceive it as motion because of two phenomena. One is retaining an afterimageof a fram until the next appears. The other is a subconscious connecting of theprevious image to the one in the present. What are these two phenomenon?

Back 13

· Persistence of Vision, and the Phi Effect

Front 14

Superstructure

Back 14

· Sphere of values, norms, laws and institutions

Front 15

Substructure

Back 15

· Economic activity

Front 16

Mechanical reproduction is a function of ____

Back 16

· Substructure

Front 17

How does mechanical reproduction cause the aura ofa work of art to wither?

Back 17

· Mechanical reproduction is independent of theoriginal. Photography can capture detail the human eye cannot: enlargement,slow motion, etc.

· Technical reproduction is much more mobile thanoriginal—reproductions can come to the viewer.

Front 18

Remember about Olympia

Back 18

· Woman gazes directly at viewer inconfrontational way

· Loosely rendered

· Wearing decorations although naked

· Flower=paid sex

· Placement of hand controlling sexuality

· Black cat rejection of placing dog, representsprostitution

Front 19

Manet described monet as Raphael of

Back 19

· water

Front 20

Sauerlander writed that, though manet adoptedmonet techniques, he continued have art make bold statements about society

Back 20

· True

Front 21

In museums hours, the museum guard remembers ayounger colleague who told him the still lifes in meseums were just pictures of____

Back 21

money

Front 22

Man with a movie camera makes almost exclusive usethroughout the movie of what device?

Back 22

Montage

Front 23

In 1890s Warburg went to US study the culture ofwhat?

Back 23

· Hopi

Front 24

Gopnick, Warburg believed poses have ___

Back 24

· Power

Front 25

Warburg be;lieved that certain images were a wayof connecting ourselves to our shared memories from ____

Back 25

· Antiquity

Front 26

What is the significance of the snake in ourdiscussion of Warburg and images?

Back 26

Ambivilant. Chaos and healing

Front 27

Cut Piece (Cut yoko onos clothes), Chris Burdensart (“Doom” stayed until someone gave him food and water) Sol Lewitt conceptualpieces

Back 27

· Plain materials, idea most important, conceptualart is made to engage mind of viewer rather than eye and emotions

Front 28

Reading images diagram 1-5

Back 28

1. What do I see? 2. What do I describe? 3. What do I interpret? 4. What do I know? 5. How do I critique?

Front 29

‘Those who lack the power tospend money become literallyfaceless. Those who have thepower become lovable.’

Back 29

Berger

Front 30

‘People want to be told whatto do so badly that they’lllisten to anyone.’

Back 30

Draper

Front 31

‘If you don’t like what’s being said,change the conversation.’

Back 31

Draper

Front 32

‘To be able to buy is the same thingas being sexually desirable.’

Back 32

Berger

Front 33

‘Advertising is based on one thing,happiness. And you know whathappiness is? Happiness is thesmell of a new car. ... It’s abillboard on the side of the roadthat screams reassurance thatwhatever you are doing is okay.’

Back 33

Draper

Front 34

‘[Advertising] can translate evenrevolution into its own terms.’

Back 34

Berger

Front 35

‘Glamour is a modern invention.’

Back 35

Berger

Front 36

‘We’re flawed because we wantso much more. We’re ruinedbecause we get these thingsand wish for what he had.’

Back 36

Draper

Front 37

`The gap between what[advertising] actually offers andthe future it promisescorresponds with the gapbetween what the spectator buyerfeels himself to be andwhat he would like to be.’

Back 37

Berger

Front 38

‘But what is happiness?It’s a moment before youneed more happiness.’

Back 38

Draper

Front 39

‘The choice of what one eats (orwears or drives) takes the placeof significant political choice.’

Back 39

Berger

Front 40

‘What you call love was inventedby guys like me to sell nylons.’

Back 40

Draper

Front 41

basic elements of imagery

Back 41

dot, line, shape, direction, texture, hue, saturation, value, scale, dimension, motion.

Front 42

the feeling or mood of a particular scene or setting

Back 42

ambiance

Front 43

perspectivefrom which a camera depicts its subject

Back 43

angle

Front 44

measurementof the opening in a camera lens that regulates the amount of light passingthrough and contacting the film.

Back 44

aperture

Front 45

shot in which the subject is photographed by an encircling or moving camera

Back 45

arc shot

Front 46

French word meaning 'halt' or 'stop';refers to the in-camera trick technique of stopping the camera, then removingor inserting an object, then restarting the camera to have an object magicallydisappear or appear; one of the earliest techniques of silent film

Back 46

arret

Front 47

aterm for how the image appears on the screen based on how it was shot

Back 47

aspect ratio

Front 48

anyconcrete or nebulous quality or feeling that contributes a dimensional tone toa film's action

Back 48

atmosphere

Front 49

naturally-existing light in an off-setlocation; a film's realism is enhanced by using available or natural light ratherthan having artificial light.

Back 49

available light

Front 50

refers to a large photographic backing orpainting for the background of a scene

Back 50

backdrop

Front 51

phenomenon occurs when the lighting for the shotis directed at the camera from behind the subject

Back 51

backlighting

Front 52

photographic technique whereby live action isfilmed in front of a transparent screen onto which background actionis projected

Back 52

back projection

Front 53

within a film's visual frame, refers to thecomposition, aesthetic quality, or working together of the figures, light,sound, and movement.

Back 53

balance

Front 54

black metal folding doors an all four sides of alight that can be bent back and forth on their hinges to control where thelight is directed.

Back 54

barn doors

Front 55

blanket placed over the film camera to reducethe noise of the moving mechanisms inside

Back 55

barney

Front 56

process of figuring out where the camera goes,how the lights will be arranged, and what the actors' positions and movements -moment by moment - are for each shot or take;often, the specific staging of a film's movements are worked out by thedirector, often with stand-ins and the lighting crew beforeactual shooting

Back 56

blocking

Front 57

optical process - the enlargement of aphotographic image or film frame; often used to create 70mm releaseprints from original35mm films

Back 57

blow up

Front 58

special-effects process whereby actors work in front of an evenly-lit,monochromatic (usually blue or green) background orscreen.

Back 58

blue-screen

Front 59

denoting scenes at the beginning and end of a film that complement each other and help tie a film together; aka framing device

Back 59

bookends

Front 60

a traveling or moveable counter-balanced pole extension device upon which a microphone, light or camera can be suspended

Back 60

boom

Front 61

shooting a scene several times with different F-stops

Back 61

bracketing

Front 62

shot used to cover or 'bridge' a jump in time or place or other discontinuity; see also audio bridge andmatch-cut

Back 62

bridging shot

Front 63

pre-film segment of pre-made film that contains studio trademark and logo or title identification

Back 63

bumper

Front 64

Computer-Generated Imagery (or Images), a term referring to the use of 3D computer graphics and technology in film-making to create filmed images, special effects and the illusion of motion

Back 64

CGI

Front 65

contrasting use of light and shade in scenes

Back 65

chiaroscuro

Front 66

French word that literally means "true cinema" or "cinema truth"; a method or style of documentary movie-making with long takes, no narration and little or no directorial or editing control exerted over the finished product

Back 66

cinema verite

Front 67

editing that developed in the early 20th century to provide a continuous and clear movement of events/images in a film; refers to the final edited structure of a completed film

Back 67

continutity

Front 68

difference between light and shadow, or between maximum and minimum amounts of light

Back 68

contrast

Front 69

all the shots, including closeups and reverse angles, that a director takes in addition to the master shot

Back 69

coverage

Front 70

camera shot taken from a large camera dolly or electronic devic

Back 70

crane shot

Front 71

editing technique of alternating, interweaving, or interspersing one narrative action

Back 71

cross-cutting

Front 72

brief shot that momentarily interrupts a continuously-filmed action

Back 72

cutaway shot

Front 73

abrupt or sudden change or jump in camera angle, location, placement, or time, from one shot to another

Back 73

cut

Front 74

curved backdrop used to represent the sky when outdoor scenes are shot in the studio

Back 74

cyclorama

Front 75

cinematographic technique for using shots filmed during the day to appear as moonlit night shots on the screen

Back 75

day-for-night shot

Front 76

rench term referring to the design of a film - the arrangement of its shots

Back 76

decoupage

Front 77

style or technique of cinematography and staging with great depth of field

Back 77

deep-focus shot

Front 78

depth of composition of a shot

Back 78

depth of field

Front 79

refers to an adjustment made technically to insure that a camera shot retains its deep focus throughout all the various planes

Back 79

depth of focus

Front 80

realistic or logically existing

Back 80

diegetic/diegesis

Front 81

reduction or softening of the harshness or intensity of light achieved by using a diffuser or translucent sheet

Back 81

diffusion

Front 82

using light and dark lighting and frame composition to emphasize what is important

Back 82

directing the eye

Front 83

when the moving or panning camera unexpectedly comes upon or 'discovers' an object or person previously undisclosed to the viewer

Back 83

discovery shot

Front 84

transitional editing technique between two sequences

Back 84

dissolve

Front 85

moving shot in which the perspective of the subject and background is changed

Back 85

dolly (Shot)

Front 86

technique of combining shots filmed in a studio with background footage shot elsewhere

Back 86

dunning

Front 87

shot made with the camera leaned to one side and filming at a diagonal angle

Back 87

dutch tilt

Front 88

photographic technique used to mask the projected image size and shape to any ratio that seems appropriate for the scene

Back 88

dynamic frame

Front 89

selecting, assembling, arranging, collating, trimming, structuring, and splicing-joining together many separate camera takes

Back 89

editing

Front 90

shortening of the plot duration of a film achieved by deliberately omitting intervals or sections

Back 90

ellipsis

Front 91

shot at the beginning of a scene (or a sequence) that is intended to show things from a distance

Back 91

establishing shot

Front 92

transitional device consisting of a gradual change in the intensity

Back 92

fade

Front 93

o record a scene or make (or lense) a motion picture

Back 93

film

Front 94

measurement of a width of a film strip

Back 94

film gauge

Front 95

"black film" that developed in the early 40s; refers to a genre of mostly black/white films that blossomed in the post-war era in American cinema, with bleak subject matter and a somber, downbeat tone

Back 95

film noir

Front 96

super wide-angle lens with a very shortfocal point

Back 96

fish eye

Front 97

single clear frame that is inserted between two shots

Back 97

flash frame

Front 98

lamp that provides general diffuse lighting on a studio set

Back 98

flood

Front 99

degree of sharpness or distinctness of an image

Back 99

focus

Front 100

shot with framing that shifts to follow and keep a moving figure or subject onscreen

Back 100

following shot

Front 101

objects or action closest to the camera

Back 101

foreground

Front 102

illusory invisible plane through which the film viewer or audience is thought to look through toward the action

Back 102

fourth wall

Front 103

way a shot is composed

Back 103

framing

Front 104

optical printing effect in which a single frame image is identically repeated

Back 104

freeze fram

Front 105

actors and foreground objects were filmed in front of a projection screen, with a previously-filmed background projected onto it

Back 105

front projection

Front 106

measurement of the size of the opening of the iris

Back 106

fstop

Front 107

abbreviation for special (or visual) effects

Back 107

f/x

Front 108

transparent, tinted colored sheet of plastic used as a filter for a movie light to create a colored glow over a scene

Back 108

gel

Front 109

shot taken with a handheld camera or deliberately made to appear unstable

Back 109

handheld shot

Front 110

shot in which the action moves or comes directly toward or at the camera

Back 110

head-on shot

Front 111

moving shot, often breathtaking

Back 111

helicopter shot

Front 112

shot in which the subject or scene is filmed from above and the camera points down

Back 112

high-angle shot

Front 113

thin beams of light to illuminate selected or limited parts of the subject

Back 113

highlighting

Front 114

well-known symbol or icon

Back 114

iconography

Front 115

filming in the exact order required for the final product

Back 115

in-camera editing

Front 116

shot that occurs in the middle of a larger scene or shot

Back 116

insert shot

Front 117

series of shots, consisting of two simultaneous events, that are alternated together to create suspense;

Back 117

intercutting

Front 118

cinematographic technique or wipe effect, in the form of an expanding or diminishing circle, in which a part of the screen is blacked out so that only a portion of the image can be seen

Back 118

iris

Front 119

abrupt, disorienting transitional device in the middle of a continuous shot

Back 119

jump cut

Front 120

contiguous positioning of either two images, characters, objects, or two scenes in sequence, in order to compare and contrast them

Back 120

juxtaposition

Front 121

main or primary light on a subject

Back 121

key light

Front 122

powerful carbon-arc lamp that produces an intense light

Back 122

Klieglight

Front 123

split edit, J-cut ordelayed edit;

Back 123

L-cut

Front 124

ntentionally-repeated, recurring element or themeassociated with a particular person, idea, milieu, or action

Back 124

leitmotif

Front 125

piece of glass in a camera through which light passes

Back 125

lens

Front 126

stock shot, often unimaginative or commonplace

Back 126

library shot

Front 127

camera shot in which the camera remains immobile

Back 127

lock-down shot