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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].

In The Graduate, the scenes in which Mrs. Robinson seduces Benjamin at her home and they first meet at the hotel include every action and line of dialogue. However, their subsequent affair is condensed to convey how routine it becomes. This is an example of how _____ helps to tell a film’s story.

The Big Lebowski (1998) begins with a voiceover as we see images of tumbleweeds rolling through Los Angeles, followed by The Dude shuffling through a grocery store in his bathrobe. As discussed in class, what kind of narration is this?

As evidenced by Daniel Day Lewis’ win for My Left Foot (1989), Jamie Foxx’s win for Ray (2004), Natalie Portman’s win for Black Swan (2010), and Eddie Redmayne’s win for The Theory of Everything (2015), to name only a few, the Motion Picture Academy loves to give Oscars to starring performances in _____ melodramas.