CIN Test 3

Question 1

Stories We Tell

Answer 1

d. Sarah Polley - Canada, 2012

Question 2

Irma Vep

Answer 2

d. Oliver Assayas - France, 1996

Question 3

Meek’s Cutoff

Answer 3

d. Kelly Reichart - US, 2010

Question 4

Fiction

Answer 4

• Literature in the form of prose
• describes imaginary events and people

Question 5

Fiction pt. 2

Answer 5

• something that is invented or untrue
• a belief or statement that is false but is often held to betruebecauseit is expedient to do so

Question 6

Non-fiction

Answer 6

nounprose writing that is based onfacts, real events, and real people, such as biography or history

Question 7

Fact

Answer 7

• a thing that is known or proved to be true
• information used as evidence or as part of a report or news article

Question 8

Mainly Law

Answer 8

he truth about events as opposed to interpretation

Question 9

The Arrival of a Train and La Ciotat

Answer 9

Auguste and Louis Lumière - 1895

Question 10

Objectivity

Answer 10

the ideals of journalistic accuracy and objectivity: impartiality, absence of bias/prejudice, fairness, fairmindedness, equitableness, equitability, even-handedness, justness, justice, open-mindedness, disinterest, disinterestedness, detachment, dispassion, dispassionateness, neutrality

Question 11

Wildcat

Answer 11

Kahlil Joseph - U.S., 2013

Question 12

RER B

Answer 12

d. Alice Diop - France 2017

Question 13

The reflexive mode

Answer 13

It makes the viewer aware of the conventions, expectations, and assumptions that usually go unspoke.

Question 14

“Let me know say only this, that truth is one species of good, and not, as is usually supposed, a category distinct
from good, and co-ordinate with it. The true is the name of whatever proves itself to be good in the way of
belief, and good, too, for assignable reasons.”

Answer 14

William James, “What Pragmatism Means”

Question 15

“I just said now that what is better for us to believe is true unless the belief incidentally clashes with some other
vital benefit.”

Answer 15

William James, “What Pragmatism Means”

Question 16

Diegetic Sound

Answer 16

a sound that appears to originate in the story world.
- (traffic noise, dialogue)

Question 17

Extradiegetic Sound

Answer 17

Comments on the story world and belongs to the narration.
- (voice-over narration, film score)

Question 18

Subjective Sound

Answer 18

sound rendered as a character hears it rather than as an objective auditor would hear it
- (point-of-audition, point-of-view)

Question 19

The Auteur Theory

Answer 19

The concept emerges in the pages of Cahiers du cinéma
*Founded in 1951 by André Bazin

Question 20

“The three premises of the auteur theory
may be visualized as three concentric
circles: the outer circle as technique; the
Middle circle, personal style; the inner
circle, interior meaning.”
Sarris, 453.

Answer 20

Andrew Sarris, The Auteur Theory

Question 21

first premise of auteur theory

Answer 21

“The first premise of the auteur theory is the technical competence of the director
as a criterion of value.”

Question 22

second premise of auteur theory

Answer 22

“The second premise of the auteur theory is the indistinguishable personality of the
director as a criterion of value. Over a group of films, the director must exhibit
certain recurrences of style, which serve as his [her] signature.”

Question 23

third premise of auteur theory

Answer 23

“The third and ultimate premise of the auteur theory is concerned with interior meaning,
the ultimate glory of cinema as an art. Interior meaning is extrapolated from the tension
between a director’s personality and his [her] material.”

Question 24

“If an individual is not an author, what are we to make of those things that he has written or said, left among his papers or communicated to others? Is this not properly a work?”
p. 118

Answer 24

Michel Foucault, What is an Author?

Question 25

How can several texts be attributed to a single author? (author and discourse)

Answer 25

Texts (or films) must be eliminated from the list of works that are inferior to the others. Those texts whose ideas conflict with the doctrine expressed in the others are eliminated. Those texts that refer to events after the author’s death are eliminated.

Question 26

In his films, Assayas stages important questions about cosmopolitanism as an antidote to globalization, insofar as the cosmopolitan is defined by the interest they take in the encounters with difference that one finds in place, where the globalist and the nationalist seeks only what it is that one already knows.

Answer 26

Statement of Central Preoccupation

Question 27

It, too, would be a mistake to understand the wholeness of the world as already complete, based on the abstract equivalence of human beings rather than as an always incomplete but richly open building of more and hopefully better social connections. Connections allow us to ground cosmopolitanism, instead of in the categorical equivalence of human beings in our relationships to each other.”

Answer 27

- Cosmopolitanism - Craig Calhoun, “Cosmopolitanism in the Modern Social Imaginary,” Daedalus (Summer 2008): 112.

Question 28

Central Preoccupation - Clean

Answer 28

Cosmopolitan difference as the ground of forgiveness

Question 29

Central Preoccupation - Irma Vep

Answer 29

Global media as source of conversation and the recognition of difference

Question 30

Central Preoccupation - Summer Hours

Answer 30

Generational change and national belonging