प्रश्न बैंक - सह - उत्तर पुस्तक (Question Bank-Cum-Answer Book)
Class - 12
English Elective
3. Film-Making - Ingmar Bergman
Q1. Pick out examples from the text that show Bergman's
sensitivity to sensory impressions which have made him a great film-maker.
Ans-
The text is replete with the different examples of Bergman's sensitivity.
During his shooting of The Virgin Spring at Northern Province Dalarna, it was
very cold and they were dressed properly. They had their equipment and were
properly being assisted by actors, electricians, makeup men, script girls,
sound crew and many others. All of a sudden they saw some cranes floating in a
circle above their heads. He realized that it was extremely difficult to shoot
a movie in Sweden.
Through
his sensory organs, he heard sweet music, the sound of flowing water, piano
music and all that came from the remarkable picture of Venice. He used an
apparatus which was constructed to take advantage of certain human weakness
with which he could sway his audience in a highly emotional manner-make them
laugh, scream with fright, smile, believe in fairy tales, feel shocked,
charmed, deeply moved or perhaps yawn with boredom. He conjured the tricks very
effectively.
Q 2. What do you understand of the complexity of the little
invisible steps that go into the making of a good film?
Ans-
There are so many things which are very complicated and difficult in film
making. They are a transformation of rhythms, moods, atmosphere etc. Then comes
dialogue. It is an invisible step that goes into the making of a good film.
This is the only thing that can be transferred from that original complex of
rhythms and moods. To write dialogues, one needs technical as well as
imaginative skills and feelings. Even after writing dialogues, there arise some
problems regarding its delivery, rhythm and tempo. The author tries to get
instructions regarding location, characterization, and atmosphere into his
screenplays but success depends upon the ability of writing and perception of
the readers which are not always predictable.
Q3. What are some of the risks that film-making involves?
Ans-
According to the author, à film is essentially a story told in motion. There is
a series of moving pictures through which the story is interpreted to the
common man. So it is essential that the story should be set in a way that it is
understood by the common man. It is absolutely important that the public
identifies with the theme of the movie. If the theme is completely alien, then
the message that the film wants to deliver will not be understood. Another
thing is choosing the idea. If the theme of the movie is different from the
current demand of the public, it will be difficult for the producer to impress
the viewers. The film industry is facing a threat of failure, criticism and
indifference.
Due
to their high ambition, the film-makers should take care about their initiative
and creative ability which has almost vanished from the film industry. If the
film-maker fails to convey his message, it will fall flat and become a great
failure. The author struggles hard to attract the people to see his film
otherwise it will prove to be fruitless. It will become a huge risk in the
process of film-making. So they should use their skills for the entertainment
of the people instead of concentrating on their selfishness.
Q4. What misgivings does Bergman have about the contemporary
film industry?
Ans-
Bergman was a great film-maker. He opines that the contemporary film industry
believes in the creation of only original work. It is the time when the artist
remains unknown and his work is considered the glory of God. The current
generation of filmmakers have the mentality of secluding oneself and ideas from
everyone else. They take it to be cheating or plagiarised content. But they
fail to understand that film-making is a continuous process. Everyone takes
inspiration and learns from one other. The author greatly advocates that the
ultimate source of knowledge is learning from one another. The author wishes
that the contemporary film industry should make collective efforts with a
positive and broad-minded attitude. When we become selfish, we find ourselves
unable to identify between true and false and gangster's whim and the purest
ideals. Only then, a person may get success in the film industry.
Q5. Compare Bergman's views about making films out of books with
that of Umberto Eco's.
Ans-
Bergman is of the opinion that a novel cannot be put into a film completely so
he wants that film-makers should avoid film-making out of books. It is quite
impossible for a film director to translate the literary theme into visual
terms. So it destroys the special, irrational dimension of the film. A book
helps a person triggering the intellectual faculty while film helps trigger the
emotions. This is the reason why Bergman thinks that the film made out of a
book has no originality. But according to Umberto Eco the film takes over the
popularity of a novel and it's only when a movie is made out of a novel that
the novel reaches the epitome of its popularity. So the film indirectly helps
the novel. This practice hurts a novelist. The character is shown quite
differently in a film than that of in a novel.
Q6. What childhood memories does the author recollect that had a
bearing on his later involvement with film-making?
Ans-
The childhood memories that led the author to film making starts with the
setting projector with its chimney and lamp. He says that he found both the
instruments mystifying and fascinating. He recalls that he produced his first
film which was nine feet long and brown in colour. In the film, there was a
girl lying asleep in a meadow. The author had a childhood which made him aware
of the two main types of characters in life. The good and the villainous. He
came to know about these from his father who prepared sermons. From this
knowledge he easily connected to the stories like Red Riding Hood and the Wolf,
and all the others. And the wolf was the Devil, without horns but with a tail
and a gaping red mouth. From imagining these bits to imagining church bells and
hearing a piano from a picture at his grandmother's house at Uppsala everything
was a part of his creative association with his childhood memories.
Q7. What connection does the author draw between film-making and
conjuring?
Ans-
The author says that film-making and conjuring are of the same dice because
both require deception of the human eye. He recalls his childish excitement of
being a conjure. To make a film of one hour, he sits twenty seven minutes in
complete darkness. He uses an apparatus which is used to take advantage of
certain human weaknesses. Through this apparatus, he takes his audience in a
highly emotional manner and make them laugh, scream with fright, smile, believe
in fairy stories, become indignant, feel shocked, charmed, deeply moved or yawn
with boredom. Thus, in film- making, he uses tricks for the audience to keep
them spell bound..
Q8. What is the nature of the first impressions that form the
basis for a film?
Ans-
According to the author, the first impressions that form the basis for a film
are the elements which are not clear in mind. These elements may be a bit of
conversation, a shaft of light, a few bars of music or a hazy and unrelated
event. He mentions that to make films, conditions, pictures, rhythms and
characters are important. The author says that the more definite and clear the
marching orders, the easier it is to reach the goal which is the basis of his
conduct as director. He is of the opinion that script is a very imperfect
technical basis for a film. No doubt, the ideas take place in our mind. They
appear and disappear but leave everlasting pleasant dreams and become part and
parcel of the film but they do not become a part of the actual story.
Q9. Which art form is film-making closest to? What is the reason
for the similarity?
Ans-
According to the author, music is essential for film- making. Music is closest
to film-making. He claims that there is no art form that has so much in common
with film as music and its impressive rhythm. If there is no music in the film,
it will become only a dead product of a factory. No film can be successful
without the rhythm of music. Music directly affects our body, mind and soul.
The author recalls that he has always been a music lover since his childhood.
Music has been a source of delight and recreation for him. Thus, he proves that
music is the closest form to film making.
Q 10. Quite often a film made out of a book is not very
successful. Discuss.
Ans-
The author is of the opinion that there is a great difference between film and
literature. So it is necessary that making films out of books should be
avoided. The irrational dimension of a literary work is often unable to be
translated into visual terms and if it is done, it destroys the special,
irrational dimension of the film.
It
also enforces an infinite number of complicated adjustments of literature to
make a film. The author does not want to be a writer, writing novels, short
stories, essays, biographies or even plays for the theatre. What he wants to
make are films about conditions, tensions, pictures, rhythms and characters. It
is very difficult to convert a book script into a motion picture. A film based
on a book has no originality. So, films made out of a book are not very
successful.
Q11. What, according to Bergman, is the relationship between a
film-maker and his audience?
Ans-
Bergman advocates the free relationship between film- maker and his audience.
He thinks that a film-maker and his audience have equal rights and importance
and so are the critics and reviewers also. He thinks that the audience has the
right to comment about the film as he sees it. They should interpret the film
according to their own mind. The author does not want to interpret his work to
others. He does not want to prompt the critics what to think. He wants his
audience either to be attracted or repelled. He clearly thinks that a film is
made to create a reaction. That is why he openly admits that if the audience
does not react one way or another, it is an indifferent work which is
worthless.
Q 12. What is the story of the Cathedral of Chartres and how
does the author relate it to his profession?
Ans-
While telling about the old story, the author tells us about the Cathedral of
Chartres. This Cathedral was burnt to ashes and ruined completely. Then it was
thought to rebuild it. Then, thousands of people came to complete the task.
Several artists came with their instruments to take part in its rebuilding.
Different kinds of people were there including master builders, artists,
labourers, clowns, noblemen, priests etc. They all worked hard to rebuild it on
its old side. But they all remained anonymous and no one knows to this day who
built the Cathedral of Chartres. The author wants to convey the idea that it
was a collective effort of the people without giving individual importance. He
says that while making a film, he gives importance to team work not to
individuals. This is the secret of his success.
Q 13. What are some of the flaws of the world of film- making
today?
Ans-
The world of filmmaking is dependent on learning from each other's work and
collaborating together. But today people have become so self-conscious that
they do not want to share their ideas and the concept. They think that sharing
will make the film vulnerable. Also, people are no longer polite and gentle.
Expression has become very brutal. What was as easy as play to the author once
has now become a struggle. Failure, criticism, public indifference all hurt
more today than yesterday. The brutality of the industry is undisguised.
Q 14. What is the beauty of shooting in Sweden, according to the
writer?
Ans-
According to the writer, there was a film setting for shooting of The Virgin
Spring in Dalama in the month of May. Everybody there was in a helping mood
with the equipment to warm themselves. All of a sudden, they spotted some
cranes flying above their heads in the sky.
The
crew was so overwhelmed that it left its work to watch the beautiful flight in
the sky. Thus, the author realized the beauty of shooting in Sweden.
Q 15. What is the relationship between film and literature?
Ans-
The writer makes it clear that there is no relationship between film and
literature. Both are contrary to each other. When we experience a film, our
imagination becomes active. A literary work is often untranslatable into visual
terms and destroys the charm of the film. If we wish to translate something
literary into film terms, we must make an infinite number of conflicted
adjustments.
Q 16. What does the author say about his ambition?
Ans-
The author says about his ambition that he has never had any ambition to be an
author. He does not want to write novels, short stories, essays, biographies or
even plays for theatre. He only wants to make films. He makes motion pictures
with its complicated process of birth. He says that he is a film-maker, not an
author.
Q 17. What are the troubles that the author faces today?
Ans-
The author faces so many problems today. He feels that talent, initiative and
creative ability are needed for films but they have been destroyed by the film
industry in its cruel machine. What was play for him earlier, now has become a
struggle. Failure, criticism, public indifference all hurt more today than
yesterday and the brutality of the industry is exposed today.
Q 18. What are the views of the author about the reviewers and
critics?
Ans-
The author does not say anything about what people say and think about him. He
believes that this is the work of critics and reviewers. They have every right
to interpret his films as they like. The author does not want to interpret his
work to others, and he does not want to prompt the critics what to think. He is
of the opinion that each person has the right to understand a film as he sees
it. He may have some attraction towards the film or repulsion but one thing is
clear, a film is made to create reaction. The author thinks if the audience
does not react one way or another, it is an indifferent and worthless work.
Q 19. What is the role of religion in an author's thinking as a
film-maker?
Ans-
The author says that there are so many people who ask him about the role of
religion in his thinking and film-making. The author replies to them all that
he has always felt that religious problems are continuously alive for him. He
is never able to stop thinking about them. He always thinks about them every
hour of every day. But he does not let them develop to the emotional level. He
keeps them confined only to the intellectual level. He hopes that he has got
rid of religious emotion and sentimentality long ago. The religious problem is
intellectual for him. It is the relationship of his mind to his intuition.
Thus, he keeps his religious problems away from his profession.
Q 20. What does Umberto Eco say about the success of the novel
The Name of The Rose?
Ans-
Umberto Eco accepts that there may be the fact that the novel dealt with a
period of medieval history. Neither he nor his publisher was sure of the
success of the novel. He says that a lot of books have been written about the
medieval past but the success of the novel is a mystery. Nobody can predict it.
He is not sure how this novel got success.
MULTIPLE CHOICE QUESTIONS
1. Who is the author of the essay 'Film-Making'?
a.
Virginia Woolf
b.
G. B. Shaw
c. Ingmar Bergman
d.
Amartya Sen
2. Which film's shooting was going on in Dalarna?
a.
The Seventh Seal
b. The Virgin Spring
c.
Persona
d.
The Passion of Anna
3. The shooting of the 'Virgin Spring' was going on in the month
of …….
a.
January
b.
February
c.
April
d. May
4. How was the weather in Dalarna during the film's shooting?
a.
Hot
b. Cold
c.
Pleasant
d.
Very hot
5. What did the company see floating high in the sky?
a. Cranes
b.
Eagles
c.
Kites
d.
Vultures
6. Author's association with film was since his …..
a.
Adolescence
b. Childhood
c.
Teenage
d.
Youth
7. Where did the author live with his grandmother in his
childhood?
a.
Dalarna
b.
Venice
c.
Strindberg
d. Uppsala
8. 'Father performed funerals, marriage, baptisms, gave advice
and performed Sermons.' From the given line we infer that Author's father was
a/an-
a.
Teacher
b.
Engineer
c. Priest
d.
Doctor
9. The wolf was the …….. without horns but with a tail and a
gaping red mouth.
a. Devil
b.
Charmer
c.
God
d.
Nymph
10. How old was the author when he got his first film projector?
a.
Twenty years
b.
Sixteen years
c.
Thirteen years
d. Ten years
11. The first film Bergman had was …….. feet long brown in
colour.
a.
6
b. 9
c.
14
d.
20
12. According to Bergman a novel cannot be put into a …… completely.
a.
Different story
b.
Theatre
c.
Play
d. Film
13.
………. is a very imperfect technical basis for a film.
a. Script
b.
Rhythm
c.
Actors
d.
Music
14. According to the author, which art form is film-making
closest to?
a.
Sound
b. Music
c.
Dance
d.
Painting
15. What is the nature of the first impression that forms the
basis of a film?
a.
To make audience laugh
b.
To make audience scream with fright
c.
To make audience smile and believe in fairy stories
d. All of these
16. What is the second step of film-making?
a.
Theme
b.
Rhythm
c. Storyline
d.
Music
17. Who was of vital importance to Bergman for what he was?
a.
His wife
b. His parents
c.
His sister
d.
His friend
18. Who helped Bergman in his professional development and
taught him the conception of theatre?
a. Torsten Hammaren
b.
Olof Molander
c.
Umberto Eco
d.
Eiono Kaila
19. How long did the author stay in Gothenburg?
a.
One year
c.
Six years
b. Four years
d.
nine years
20. Who is Carl Anders Dymling?
a.
Bergman's friend
b.
Bergman's father
c. Bergman's producer
d.
Bergman's Teacher
21. How was the Cathedral of Chartres destroyed/ burned to the
ground?
a.
By storm
b.
By flood
c.
By earthquake
d. By lightning
22. What is a creative drive of art?
a. Worship
b.
Loneliness
c.
Individualism
d.
Need
23. When was creative activity considered as a gift or talent?
a.
During medieval period
b. During ancient period
c.
During the regime of Queen Victoria
d.
During Modern time
24. Who said, 'When I show a film I am guilty of deceit....
Thus, I am either an imposter or, when the audience is willing to be taken in,
a conjurer.'
a.
Umberto Eco
b.
Herbert Grevenius
c.
Hammaren
d. Ingmar Bergman
25. Who is the author of the novel, 'The Name of the Rose'
published in 1980?
A
Eiono Kaila
b.
Ingmar Bergman
c. Umberto Eco
d. Carl Anders
JCERT/JAC English Elective प्रश्न बैंक - सह - उत्तर पुस्तक (Question Bank-Cum-Answer Book)
English Elective Contents
Short Stories | |
1. | |
2. | |
3. | |
4. | |
5. | |
Poetry | |
1. | |
2. | |
3. | |
4. | |
5. | |
6. | |
7. | |
8. | |
Non-Fiction | |
1. | |
2. | |
3. | |
4. | |
5. | |
6. | |
Drama | |
1. | |
2. | |
Novel | |
1. | |
2. | |
