2. Who is used as an example of holding the shot for use with a fixed space?
(a) Deleuze.
(b) Epenstein.
(c) Hitchcock.
(d) Mitry.

3. An example of a second level shot is which movie, given as an example by Deleuze?
(a) Singing in the Rain.
(b) Vertigo.
(c) The Goldrush.
(d) The Birds.

4. Bergson's second thesis looks at cinema as which of the following?
(a) Moving illusion.
(b) Immobile illusion.
(c) Pathetic illusion.
(d) Perfected illusion.

5. In second level shots, what is movement determined by?
(a) Exceptional situations.
(b) Cutting.
(c) Mitry.
(d) Fixed cameras.

6. Movement's second subdivision is into which category?
(a) Dual-images.
(b) Material-images.
(c) Action-images.
(d) Large-images.

7. The view of someone external to the set is described as which of the following?
(a) Objective.
(b) Subjective.
(c) Indirect.
(d) Direct.

8. Who claimed that consciousness is "of" something?
(a) Husserl.
(b) Bergson.
(c) Griffith.
(d) Keaton.

9. Who claimed that conscious "is" something?
(a) Bergson.
(b) Griffith.
(c) Husserl.
(d) Keaton.

10. What is another term meaning semi-subjective?
(a) Limited indirect subjective.
(b) Limited direct subjective.
(c) Free indirect subjective.
(d) Free direct subjective.

11. What term is used to describe the use of separate cinematic close-ups from specific places they appear?
(a) Deterriteorialisation.
(b) Dimensions.
(c) Secondness.
(d) Firstness.

12. Bergson referred to the occurrence during the first thesis of movement as which of the following?
(a) Cinematographic illusion.
(b) perfected illusion.
(c) Pirvileged instants.
(d) False movement.

13. What is the first pole of the face as Deleuze describes it?
(a) Power.
(b) Subjectivity.
(c) Individuality.
(d) Quantity.

14. Who did Deleuze recognize as the leader of pre-war French?
(a) Vertov.
(b) Griffith.
(c) Gance.
(d) Eisenstein.

15. The view of a participating character is which of the following images?
(a) Sensory factor.
(b) Affective factor.
(c) Active factor.
(d) Cogito factor.