Color Was Not Used In Filmmaking Until The 1930S.

Do the Right Thing, in order to represent the bucolic and tranquil nature of the neighborhood in which its narrative is set, features mainly cool colors — shades of blue and green especially — in the mise en scene and the lighting.

False; overheated environment is shown using shades of red, orange, and yellow

Nickelodeons were lavish theaters built after 1915 in largely urban areas that signaled the rise of film from working-class amusement to middle-class prominence and respectability.

False; nickelodeons were in poor, normal communities and picture palaces were lavish theaters

Low-key lighting produces a low-contrast and evenly lit image, with substantial detail even in the shadows.

False; high key lighting/glamour lighting

In Vertigo, Hitchcock maintains suspense and creates a twist ending not revealing that Elster murdered his wife Madeleine until the final scene of the film

False; there's a flashback scene of the husband and Judy plotting to kill Maddie

Nondiegetic narration or even looking directly at the camera never occurs in commercial narrative filmmaking, because if the "fourth wall " is broken it would seem as through the spectator were being addressed "directly".

False; commercial films do employ nondiegetic narration and interact with the audience

Forced perspective as a term refers to how spectators are cued by a filmmaker to accept a film's ideology or "message".

False; forced perspective is a type of camera shot when the subject of an image looks smaller/larger or closer/farther away than it actually is

Although The Great Train Robbery and the Lonedale Operator run for roughly the same amount of time and tell a somewhat similar story, the first contains 15-17 shots and the latter more than a 100, indicating an increased interest in dropping out narratively unnecessary time and space in narrative film.

True

"Diegesis", Greek for "recounted story", generally refers to the "world" of the story in a film, or that which the narrative's characters can experience, see, hear, etc.

True

Color was not on the screen in any U.S. film until the 1930s, when technicolor, while expensive, was finally perfected.

False; film strips were colored/dyed before the invention of technicolor

Colors have certain optical properties (warm colors generally "more forward" visually, cool colors recede) that may be employed by filmmakers for expressive effect, but this effectiveness may be altered by other aspects of mise-en-scene, particularly scale, movement, and lighting.

True

if we speak of an element of a given film as being nondiegetic, we mean that it is not shown onscreen.

False; nondiegetic elements can be subtitles, objects that the characters do no interact with or background music

Chiaroscuro or "Rembrandt" lighting are synonym for three point or "glamour" lighting.

False; low key lighting

The term "narrator system" refers to the fact that the narrative "voice" in Hollywood film is usually third person, with some first person components like point of view shots and voice over narration.

True

The reading on Do the Right Thing claims that the film is "classical" because it has clear action and a plot that moves strongly towards its conclusion, even though the number of characters is large and it ends with an ambiguity that is similar to that of Citizen Kane.

True

Few if any American commercial films have ever employed expressionism in their mise en scene because of the limited use-value of the style in most genres of filmmaking through the present day.

False; movies draw a lot of inspiration from expressionistic films

In Vertigo, Hitchcock uses colors in a way similar to the traditions he learned in his youth, in which the color green was associated with ghosts, lavender and black with mourning, and red with life and the living.

True

All silent films employ inter-titles in order to make sure that the audience will understand the film's story clearly and coherently in the absence of a synchronized soundtrack.

False; using subtitles is an option but some films exclude them to make people pay attention

The most common type of storytelling in commercial cinema is restricted narration in which we know only as much as a given character knows.

False; films use a combination fo non-restricted and restricted narration

To Americans and the film-going world, motion pictures were part of the variety of "modernity" that included the department store and its vast windows, the amusement park, the automobile, radio, the assembly line

True

If a film employs voice-over narration by a character, especially if the voice-over introduces a flashback, the narration of the film is automatically "restricted" and "subjective".

False; unrestricted because the audience knows things the character is thinking

Un Chien andalou (1928) is one of the most famous examples of German Expressionism in filmmaking, with everything in the mise-en-scene built and painted to appear off-kilter and highly stylized to mimic a madman's state of mind.

False; Un Chien andalou is an example of surrealism and Cabinet of Dr. Caligari is an example of German Expressionism

The most common way that a filmmaker can expand a film's plot/discourse time relative to its story time is cutting out time and space that are not "interesting" or needed by the audience for narrative comprehension.

False; slow motion or ramping can be used to expand a film's plot and story time.

In Blowup, the main character plays an Italian motion picture cinematographer who works in the commercial film industry in London.

False; main character is a fashion photographer

Mise-en-scene, though French in origin, is a film-specific term that refers to the location in which a movie is set —prairie, apartment, seaside, etc.

False; mise-en-scene is different from setting and is combination of things that influence a film's narrative

Example of a high key lighting scene.

False; low key lighting