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Andy Warhol’s experimental films, such as 1963’s Blow Job and Kiss, and those of Kenneth Anger belong to what film tradition?

Westerns that question the ideologies of traditional westerns – from Sam Peckinpah’s violent The Wild Bunch (1969) to the Coen Brothers’ Oscar-winning No Country for Old Men (2007) – are best classified as _____ westerns.

As a feature of its alternative narrative, the film Memento ultimately reveals that Leonard is a(n) _____narrator.

Near the beginning of Stories We Tell, director Sarah Polley tells her dad, Michael, that her documentary about her mother will have a(n) [one] rhetorical position. However, after Polley learns more about her mother while making the film, it ultimately adopts a(n) [two] position about storytelling itself.

A figurative type of character that is so exaggerated or flat that it no longer feels realistic, such as a child that represents innocence, is called a(n) _____.

In a conventional romantic comedy, the plot involves a man and woman meeting, they face an obstacle that keeps them apart, and then ultimately end up together. This is the _____ of the romantic comedy.

When Benjamin races to the church to stop Elaine’s wedding in The Graduate, this is a temporal pattern called _____.

Michael Moore’s documentaries always adopt a(n) [1] rhetorical position toward their subjects (guns, 9/11, healthcare, capitalism, etc.), and, frequently, a(n) [2] position when Moore himself appears in the films.

In the opening minutes of the PBS Frontline documentary about the protests and subsequent violent conflict in Charlottesville, Virginia, the narrator states that the film seeks to investigate hate groups in the U.S. This indicates that the film has a(n) _____ rhetorical position.

The visual techniques used in horror films create suspense and shock by creating tension between the dread of [1] and the horror of [2].