On Directing Film Test | Final Test - Hard

This set of Lesson Plans consists of approximately 135 pages of tests, essay questions, lessons, and other teaching materials.

On Directing Film Test | Final Test - Hard

This set of Lesson Plans consists of approximately 135 pages of tests, essay questions, lessons, and other teaching materials.
Buy the On Directing Film Lesson Plans
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This test consists of 5 short answer questions, 10 short essay questions, and 1 (of 3) essay topics.

Short Answer Questions

1. According to Mamet in Chapter 5, having two reasons for an act are the same as having how many reasons?

2. Mamet recommended the book A Practical Handbook for the Actor, written by whom?

3. Once the story has found an ending, Mamet says you can look back over the shot list and answer what question?

4. What is the subheading of Chapter 4?

5. What did Stanislavsky say is needed alone to support the text?

Short Essay Questions

1. Who did the farmer meet in the hypothetical film in Chapter 5? How did this interaction play out?

2. What does Mamet say regarding the training of film actors in today's world?

3. What analogy did Mamet give that involves Stanislavsky, in Chapter 6?

4. What metaphor did Mamet use to illustrate the work in pre-production, in Chapter 6?

5. What did Mamet caution against with having multiple motivations for the farmer in Chapter 5?

6. What is the Cult of Self which Mamet refers to in Chapter 6?

7. How did Mamet relate film direction and screenwriting in Chapter 6?

8. What does Mamet say to give yourself over to in directing, in Chapter 5?

9. How did Mamet describe dealing with dialogue in Chapter 4?

10. How does Aristotle's theory of tragedy relate to the hypothetical film in Chapter 5?

Essay Topics

Write an essay for ONE of the following topics:

Essay Topic 1

Describe Mamet's metaphor for film and the Countercultural Architecture movement.

Essay Topic 2

Discuss Mamet's take on exposition and narration in storytelling and specifically in film.

Essay Topic 3

Discuss Mamet's approach to the director's interaction with the actors and the camera operators on the set. What did he suggest in these interactions, and why?

(see the answer keys)

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