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Take Home Test 2012(2)
RMIT UNIVERSITY
SCHOOL OF MEDIA & COMMUNICATION
COMM 1034 – TRUE LIES: DOCUMENTARY STUDIES
TAKE-HOME TEST: WEEKS 1-5: MODES OF DOCUMENTARY FILMMMAKING:
DUE: Monday 16th of April, no later than 5pm.
Instructions:
In Section 1, each question has one only correct answer, i.e. a); b); c) ; or d). Having decided which is the correct answer, print the appropriate letter in the space provided (following ‘ANSWER:’) after each of Part A’s ten multiple-choice questions.
In Section 2, which consists of two mini-essays, your first 250-300-word mini-essay is a response to one question in part 1. Your second 250-300-word mini-essay is a response to one question in part 2.
Having completed and checked your answers to Section 1 and Section 2, you are required to take your test to Reception on Level 4 of Building 9, attach a standard cover sheet, and deposit it in the drop-off box by 5.00pm on Monday 16th of April 2012.
Plagiarism: Students are reminded that plagiarism is an offence subject to University disciplinary procedures. For information on plagiarism more generally, please consult the course outline. In particular, enabling plagiarism is the act of assisting or allowing another person to plagiarise or copy your own work.
Name & Student No.:………………………………………………………………
SECTION 1: Ten Multiple-Choice Questions (Worth 10 points)
1) Nicolas Philibert’s TO BE AND TO HAVE can be best described as:
a) totally within the Observational Mode
b) mostly in the Observational Mode with aspects of the Interactive
c) mostly in the Observational Mode with aspects of the Reflexive Mode
ANSWER: …………………………………………………………
2) An index is a sign that has what kind of connection to the thing that it represents:
a) a direct physical/visual connection
b) a direct ethical/moral connection
c) a direct spiritual/mystical connection
d) none of the above
ANSWER: …………………………………………………………
3) Which of these statements regarding Bill Nichols taxonomy of modes is true:
a) every documentary belongs to just one mode
b) formal techniques can be associated with more than one mode
c) every mode operates within a specific decade
d) every mode strives for greater objectivity
ANSWER: …………………………………………………………
4) The Observational Mode can be regarded as reacting against what main tendency of the Expository mode:
a) its didactic tone
b) its lyrical cinematography
c) its lack of social commitment
d) its stylised subjectivity
ANSWER: …………………………………………………………
5) The characteristic that distinguishes Leni Riefenstahl’s TRIUMPH OF THE WILL as being representative of the expository mode is:
a) the use of interviews
b) Riefenstahl’s personal voice-over narration
c) the rhetoric of the film’s images
d) the fact that it was made in the 1930s
ANSWER: …………………………………………………………
6) Which Mode emphasizes the encounter between the filmmaker and viewer:
a) Reflexive Mode
b) Interactive Mode
c) Expository Mode
d) Observational Mode
ANSWER: …………………………………………………………
7) According to Jeanne Hall’s article, what is the central organising principle of
D.A. Pennebaker’s DON’T LOOK BACK:
a) the chronology of Bob Dylan’s 1965 tour of England
b) a sustained critique of the media
c) a sustained evaluation of Bob Dylan’s personality
d) none of the above
ANSWER: …………………………………………………………
8) Which of the following activities does the Reflexive Mode ask us to perform?:
a) to do no more than simply look at the image
b) to place the image in context/s, and understand a doco as a construction
c) to take an uncritical stance toward the subject
d) to passively read the image as ‘reality’
ANSWER: …………………………………………………………
9) Which of the following aspects of documentary are characteristic of The
Interactive Mode?
a) the interaction or intervention of the filmmaker
b) the filmmaker’s voice
c) filmmakers address to the social actors on the screen rather than the audience
d) all of the above
ANSWER: …………………………………………………………
10) According to Bill Nichols The Interactive Mode restores a sense of
the local, the specific, and the embodied as a vital source of what?
a) historical objectivity
b) global capitalism
c) social subjectivity
d) cultural prejudice
ANSWER: …………………………………………………………
SECTION 2; TWO 250-300-word Mini-Essays (Worth 25 points)
Write in no more than 300 words http://www.ukassignment.org/ygkczy/ one only response to EITHER Question [1] OR Question [2] OR [3]; THEN respond in no more than 300 words to EITHER Question [4] OR Question [5] OR Question [6]:
NB: Make sure you identify (by number) which particular Mini-Essay question you are choosing to address.
PART A:
[1] Describe two characteristics unique to the Expository Mode, and in your answer, refer to how these aspects are evident in any films screened in weeks 1-5 of the COMM 1034 course,
OR:
[2] Describe two characteristics unique to the Observational Mode, and in your answer, refer to how these aspects are evident in any films screened in Weeks 1-5 of the COMM 1034 course.
OR:
[3] Describe two characteristics unique to the Interactive Mode and, in your answer, refer to how these aspects are evident in any films screened in Weeks 1-5 of the COMM 1034 course.
PART B:
Choose one only of the following Questions [4] or [5] or [6] or [7]:
[4] Identify and discuss two devices employed by Ross McElwee’s TIME INDEFINITE which situate this film within the Interactive Mode
OR:
[5] Identify and discuss two devices employed by Anna Broinowski’s FORBIDDEN LIE$ which situate this film within the Reflexive Mode.
OR:
[6] Identify and discuss two devices employed by either Nicholas Philibert’s TO BE AND TO HAVE or D. A. Pennebaker’s DONT LOOK NOW which situate the film within the Observational Mode
* FOR VIEWING FILMS, PLEASE NOTE THAT LIBRARY HOURS OVER EASTER: closed Good Friday, Saturday and Sunday. Open 10am-5pm Easter Monday & Tuesday.
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