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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. Cartier-Bresson, in the introduction of his book, justified his unwillingness to use _________ by citing technical limitations.
(a) Tripods.
(b) Color.
(c) Digital cameras.
(d) Film.

2. The film that Antonioni produced about the life of the Chinese was not shown in China until _____________.
(a) 1999.
(b) 2005.
(c) 2004.
(d) 2001.

3. The reaction to the film in China is illustrative of an essential ____________ difference in the way that photography is understood.
(a) Gender.
(b) Cultural.
(c) Societal.
(d) Military.

4. Photography is published in books with _______ of white space and precise layouts, making it seem artistic.
(a) Spaces.
(b) Backgrounds.
(c) Images.
(d) Frames.

5. Photographs are clearly superior at recording information in comparison to __________.
(a) Interviewing.
(b) Listening.
(c) Writing.
(d) Painting.

Short Answer Questions

1. Chinese tastes favor well-______________ presentations within photography, according to the book.

2. The overall discussion in this chapter is that on some level, in photography, images are or supersede __________.

3. Most continue to claim that photography is entirely _________, according to the research of Sontag.

4. Many people fear being photographed because they fear the camera's ___________ of their looks.

5. The film director also focused on the most often ____________ features of Chinese life which were also humanizing.

Short Essay Questions

1. What does a photographic portrait not need to do, instead it can mingle documentation with artistic rendering?

2. How are photographs presented as art in the modern society, according to this chapter of the book?

3. What discussion does false photography illuminate in regards to the essential division in photography?

4. What did the film Chung Kuo include that helped to present an accurate, though not flattering, picture of Chinese life?

5. In order to avoid the over-exposure of beautiful things, what becomes necessary in relation to beauty?

6. What is the struggle that's described in relation to paintings versus taking photographs, according to Sontag?

7. What does this chapter seem to believe the current definition of modern society is in relation to images and things?

8. What does modern photography seem to say about this subject of the photograph and its importance?

9. What does Sontag see as the central tension in photography, according to the discussion in this chapter?

10. What does the final chapter have to present about the idea of images in relation to reality, something which may not be fully supported by the text?

(see the answer keys)

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