Only answer the two (2) questions below presented in the video about MARTIN SCORSESE AND CARAVAGGIO and question #3.

Copy and paste questions 1, 2 and 3 along with your answers and submit them using the Text Entry Box Below.

CASE STUDY (pages 134-135 in Art History for Filmmakers: The Art of Visual Storytelling) & VIDEO SCREENED IN CLASS AND MAY BE SEEN BELOW FOR REVIEW:

“Watch video in file”


1) What makes Caravaggio so important to Scorsese?

2) What are some of the main influences of Caravaggio’s paintings that Martin Scorsese uses for his movies?

3) Please indicate that you have studied the following questions for Quiz #1? 

Study Questions from Art History for Filmmakers: The Art of Visual Storytelling book


1) How does Art History relate to Cinema History?

2) Why is art important?

3) How is Art History useful for filmmakers?

4) How can the “Cinematic” be found in Art?

5) What kind of sounds can be imagined in Edward Hopper’s painting, Gas (1940)?

6) What are the main visual characteristics of Renaissance and Baroque Paintings?

Chapter 1:

1) What are some of the examples of visual narratives/storytelling in art (e.g. storyboards)?

2) How is color Symbolic and Psychological? Page 25

3) How does production design play a key creative role in the filmmaking process? Page 27.

4) How does the movie Jacob’s Ladder (1990) relate to Kandinsky’s color theory in painting and cinema?

5) What are Kandinsky’s theories about red, blue, and black? Pages 30 - 32.

6) How does perspective influence the composition of the cinematic image?

7) According to the Art History for Filmmakers text, who are the main artists that are considered “theatrical painters”?

8) What is Rembrandt lighting and why is it used in cinema?

9) What is the difference between chiaroscuro and TENEBRISM lighting? PAGE 41.


WRKST/LAB #13: QUIZ #1 STUDY QUESTIONS PART 2 is rated 4.8/5 based on 234 customer reviews.

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10) Why are scenes in the “Godfather” movies considered “Rembrandt Lighting”? PAGES 36 -39.

Study Questions from An Introduction to Film Analysis: Technique and Meaning in Narrative (Second Edition)

 Pages 13 – 23 SHOT-BY-SHOT ANALYSIS and the GLOSSARY ON PAGES 267 - 271

Study the following listed terms 1 - 6 and the meaning of each one and the related terms under each term:

  1. Composition - The arrangement of elements within the frame of the image.

Depth of Field – is the invisible space that is kept in focus in front and behind the plane of vision in a shot.

foreground, background, frame, framing, Mise-en-scene and Negative space.

  1. Cinematography - The art of photographing a film.

All of the different types of shots listed. KNOW THEM ALL! 

High-Angle shot – When the camera looks down at the object filmed.

Master shot – A shot of the entire set and of all the characters, that is used to make sure that all the action is covered in the resulting takes.

Diffusion - A soft effect created by a filter.

  1. Editing - The joining together of shots and series of shots to make a complete film.

Montage – A dynamic editing style that combines many shots, often rapidly to make a point about the passage of time or the evolution of a character.

  1. Art Direction/Production Design - The design of the film in terms of setting, sound, lighting and costume.

Chiaroscuro, Diegetic, Non-diegetic sound, exposure,

High-key lighting – When light fully illuminates the set bringing the objects filmed to a brilliant clarity of outline.

Low-key lighting – Underlights a set to create shadows and less clarity of vision.

Three point lighting – Uses three lights

A key light illuminates the characters

A fill light eliminates the shadows fills in the space between the characters and the back of the set.

saturation, desaturation,

  1. Narrative - The way a film story is told.

Sequence – A part of a film’s narrative that records a complete action or event from beginning to end

Diegesis, sequence, perspective, point of view, transition.

  1. Style - A particular way of using film technique to represent the world.

Study Questions from Cinematography: Theory and Practice

1. Choose the terms that do not belong to the list of the eight (8) design principles. (Pages 15-17)

a) Unity/Balance       b) Montage/Elliptical Cuts                  c) Rhythm/Proportion      

d) Contrast/Texture                      e) Directionality/Visual Tension

2. Choose the terms that do not create the illusion of Depth in a visual field

a) Overlap/Size Change                  b) Vertical & Horizontal Location                  c) Coverage/Transitions

d) Foreshortening/Chiaroscuro                    e) Atmospheric & Linear Perspective

3. True or False. Closed Frame is one in which one or more of the elements either pushes the edge or actually crosses the edge.

4. True or False. An Open Frame is one in which the elements are comfortably contained within the frame.

5. The Rule of Thirds refers to

a) famous deaths occur in 3’s                 b) 3 crew members              c) composing a human figure into 3 parts

d) dividing the frame into thirds for compositional grouping                   e) not a, b, c, or d.

6. True or False. In narrative filmmaking, a key concept of camera movement is that it must be motivated.

7. Great films like On the Waterfront, Apocalypse Now, or The Big Sleep. They all have a definite, identifiable universe in which they exist: it consists of __________ but to a large extent these visual worlds are created through the cinematography.

A. the locations

B. the sets

C. the wardrobe,

D. even the sounds,

E.  A, B, C and D.

8. True or False. The compression of space created by a very long lens establishes the visual impression of a trap, a spider’s web in the final scene of Seven— an excellent example of visual color (metaphor) in cinematography.

9. ___________ lighting uses light and shadow to create depth and focus the attention of the audience, such as the still frame from Apocalypse Now.

A. High Key

B. Soft

C. Chiaroscuro

D. Atmospheric

E. Not A, B, or C.


10. Strong __________ lines are crucial to this shot from The Conformist.

A. s curve

B. vertical

C. horizontal

D. diagonal

E. not A, B, C or D.


11. A _________ shot along with a dramatic shaft of light and shadows creates a graphic composition in Sin City.

A. low angle

B. extreme low angle

C. crock-a-dock

D. eye level angle

E. not A, B, C or D.


12. True or False. A shallow focus shot from Citizen Kane shows only one level of the story in the same frame.

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