Study Sheet Final Exam SAC 236 Fall 2009

Dear Students

The final is on Thursday, Dec 10th in class at our regular time. Please
bring blue books. There are definitions, multiple-choice questions, true
false questions, short answers and an essay. For the multiple choice
and True/False questions you should know the following: non-diegetic
elements in narrative, film's plot, depth of narration, chain of action in
Hollywood film, a genre's iconography, the auteur theory, modes of
documentary, traits of Hollywood protagonists, genre conventions,
staging of action in documentary films, experimental film.

For the definitions you should be able to define the following:

1. Types of forms in documentary

2. Associational form in experimental film
3. Iconography
4. Metteur en scene
5. Unity/Disunity (p. 70 Bordwell)
6. Narrative
7. Range of knowledge
8. Genre conventions
9. Temporal duration
10. Linear chronology
11. Avant garde
12. A documentary

For the short answers you should be able to write on the following:

Explain the distinction made in Film Art between “plot” and “story” in
narrative films. Use an example from a film screened this
semester to illustrate your points.

Describe at least two basic narrative traits of the classical Hollywood

cinema and give examples of each from films shown in class.

How Ballet Mechanique is an example of the abstract form in

experimental film.

Cite at three ways in which Meshes of the Afternoon exemplifies the

experimental film movement?

The Essay Topics

Compare and contrast David Bordwell’s ideas on how the narrative
principles of the Classical Hollywood film differs from those of the Art
Film (Hint: Be sure to discuss how realism differs in terms of
characters, locations and themes in both cases.) Illustrate your
argument with examples from any of the films we have seen in class or
screenings this semester.

Explain the concept of the film auteur as outlined by Andrew Sarris.

Then apply his ideas to Clint Eastwood. In other words, how might we
consider Clint Eastwood to be an auteur according to Sarris? (Hint: Be
sure to mention to discuss Eastwood’s mise en scene and world view
that emerges from it. Use specific examples from Unforgiven and
Mystic River.)

Discuss the common argument that genres mirror larger events and
trends in society. Drawing on examples from class readings and
screenings, suggest the strengths and weaknesses of this argument.

Define the terms “order,” “duration,” and “frequency” as they apply to

narrative time. Give one example of the manipulation of each in
Unforgiven and Chinatown. Then conclude by explaining how either
Chinatown or Unforgiven’s narrative achieves closure and discuss
some of the effects this has on the spectator’s understanding of the
film.