film theory

3. According to Münsterberg, the flashback in film reflects this property of human cognition.
4. “It is not so much the photograph of the _____ that interests us as the photograph of the danger.” – Bazin, about Kon-Tiki.
5. German for “put together,” and often defined as "to make whole," this is name of the branch of psychology that heavily influenced Arnheim.
8. Bazin writes that images hold a special power over us because they appeal to our “______ complex.”
9. The ________ du Cinéma was a journal founded by Bazin and a group of young filmmakers.
10. According to Münsterberg, the “_______ development” of cinema traces the technical history of the medium.
13. Surname of the director of Rome: Open City and Paisà, noted by Bazin in his essay on De Sica.

1. Surname of the cinematographer of Citizen Kane and The Little Foxes, among other canonical films from Hollywood's studio era.
2. According to Bazin, some directors put their faith in reality; by contrast, the German Expressionists put their faith in the ___________.
3. “Art begins where _________ reproduction leaves off.” - Arnheim.
4. Italian Neorealist filmmakers reacted against the “_______ telephone” genre.
6. Bazin’s “__________ of reality” uses a metaphor from geometry to suggest that with each technological innovation, cinema more closely replicates reality.
7. The surname of the Dutch priest who practiced a lifestyle of austere morality and inspired the title of Bazin’s essay on William Wyler.
11. Of the two “tendencies” of cinema, Kracauer prioritizes the ________ one.
12. According to Bazin, “Realism in art can only be achieved in one way – through ________.”