Test bank for film history an introduction 4th edition kristin thompson david bordwell

Test Bank for Film History: An Introduction, 4th Edition, Kristin Thompson, David Bordwell

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Film History: An Introduction, 4e (Thompson) Chapter 6 Soviet Cinema in the 1920s 1) After the Bolsheviks gained power in Russia in late 1917, their first move regarding the Russian cinema was to: A) abolish the import of foreign-language films.

B) create a new regulatory body to oversee the cinema.

C) nationalize the film industry.

D) subsidize the construction of permanent movie theaters.

Answer: B Accessibility: Keyboard Navigation 2) Surviving scenes from Lev Kuleshov's 1918 film, Engineer Prite's Project, suggest that: A) it was completely assembled out of footage from existing American and German films.

B) Kuleshov understood the principles of "intellectual montage" years before Sergei Eisenstein first applied the idea to his own work.

C) in the years immediately following the revolution, even "revolutionary" Russian filmmakers continued to stage action and edit shots in the manner of the early Russian directors.

D) Kuleshov employed Hollywood-style continuity guidelines.

Answer: D Accessibility: Keyboard Navigation 3) Most of the films produced under the auspices of the Soviet state in 1919 were: A) historical epics and literary adaptations.

B) military training films.

C) short newsreels and propaganda films.

D) topical comedies.

Answer: C Accessibility: Keyboard Navigation 4) With film stock extremely scarce in the Soviet Union during the War Communism years, the students in Lev Kuleshov's workshop at the State Film School prepared for future filmmaking efforts in each of the following ways EXCEPT: A) reediting old films.

B) writing elaborately detailed continuity scripts.

C) shooting and assembling footage in short editing experiments.

D) putting on plays that were staged as much like films as possible.

Answer: B Accessibility: Keyboard Navigation

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5) The Kuleshov effect is based on the use of editing to: A) leave out a scene's establishing shot and lead the spectator to infer spatial or temporal continuity from the shots of separate elements.

B) create a new idea or argumentative position out of the juxtaposition of two completely dissimilar shots.

C) smooth over the potential rupture for the spectator caused by a shift in time or location.

D) replicate or suggest the mental activity of characters.

Answer: A Accessibility: Keyboard Navigation 6) Which European city was the main conduit for films going into and out of the Soviet Union during the 1920s?

A) Helsinki B) Paris C) Rome D) Berlin Answer: D Accessibility: Keyboard Navigation 7) Identify the feature film made by the members of the Kuleshov workshop that brought the Soviet cinema to the verge of a truly avant-garde movement.

A) The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks B) The Adventures of Oktyabrina C) Man with a Movie Camera D) China Express Answer: A Accessibility: Keyboard Navigation 8) Sovkino, a distribution firm created by the Soviet government in 1925, was charged with the responsibility of opening new theaters in cities and sending portable projection outfits to the countryside. The company paid for these operations largely by: A) importing and distributing foreign films.

B) investing in overseas stock markets.

C) exporting Soviet films.

D) obtaining government subsidies.

Answer: C Accessibility: Keyboard Navigation

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9) Which of the following is true of Constructivists' view of art?

A) It was an object of rapt contemplation.

B) It inevitably fulfilled a social function.

C) It reproduced physical reality as closely as possible.

D) It was a source of some enduring higher truth.

Answer: B Accessibility: Keyboard Navigation 10) The Constructivists often compared the artwork to a: A) river.

B) machine.

C) plant.

D) church.

Answer: B Accessibility: Keyboard Navigation 11) In the stage productions of the influential Constructivist theatrical director Vsevolod Meyerhold, an actor's performance was supposed to be founded upon: A) carefully controlled physical movements.

B) insults and even violent actions directed at the audience.

C) an aesthetic of distancing oneself from the moral or social implications of the work.

D) the expression of inner emotions.

Answer: A Accessibility: Keyboard Navigation 12) Which of the following is NOT true of the Montage film Strike?

A) It was set and shot in a factory.

B) It was the first major film of the Montage movement.

C) It was the first feature film directed by Sergei Eisenstein.

D) It was made to commemorate the tenth anniversary of the Russian Revolution.

Answer: D Accessibility: Keyboard Navigation 13) Which Soviet director and theorist admired the succinct storytelling of American films and thought of Montage chiefly as techniques of editing for clarity and emotional effects?

A) Lev Kuleshov B) Alexander Dovzhenko C) Sergei Eisenstein D) Dziga Vertov Answer: A Accessibility: Keyboard Navigation 3 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

14) Which of the following is NOT true of the Montage filmmaker Dziga Vertov?

A) He emphasized the social utility of documentary.

B) He considered that the differences, or "intervals," between shots would be the basis of a film's effect on the audience.

C) He discussed montage chiefly as techniques of editing for clarity and emotional effects.

D) He believed that montage was less a single technique than the entire production process.

Answer: C Accessibility: Keyboard Navigation 15) According to Sergei Eisenstein's ideas on the "collision montage," a single shot should be thought of as akin to: A) an atom capable of existing independently or as a component of a larger entity.

B) a cell formed by the collision of two elements in opposition to each other.

C) a word, which communicates meaning only when strung together with other words to form a sentence.

D) a brick, which links with other bricks to form a structure.

Answer: B Accessibility: Keyboard Navigation 16) The source of causes and effects in a Montage film narrative was often: A) a natural disaster or catastrophe.

B) the hero's quest for self-actualization.

C) social forces.

D) supernatural elements.

Answer: C Accessibility: Keyboard Navigation 17) In Montage films, the use of "overlapping editing" within a scene or sequence means that: A) the editing rhythm is accelerating to the point where shots are only a few frames long.

B) the depicted event is taking less time than it takes in reality.

C) the same space is being shown from the same camera position in successive shots, but the mise-en-scène has been changed.

D) the time a depicted action takes on the screen is noticeably expanding.

Answer: D Accessibility: Keyboard Navigation

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18) In Montage films, rapid editing within a film: A) implies that human actions are socially determined.

B) enhances the effect of explosive, often violent, action.

C) conveys characters' subjective perceptions.

D) suggests the relentlessness of class struggle.

Answer: B Accessibility: Keyboard Navigation 19) In the plate-smashing scene from Battleship Potemkin, director Sergei Eisenstein creates a contradictory space by: A) mismatching a character's position from shot to shot.

B) cutting in footage from an early, classic Russian film.

C) originally shooting the scene in continuity style, then assembling the scene's shots in purely random order.

D) using temporal ellipsis to elongate the primary action.

Answer: A Accessibility: Keyboard Navigation 20) In Soviet Montage filmmaking, crosscutting was often used to: A) stage last-minute rescue scenes.

B) break a space down into its component parts.

C) link two actions for the sake of a thematic point.

D) create parallels between story lines.

Answer: C Accessibility: Keyboard Navigation 21) Which of the following consists of one or more shots depicting space and time unrelated to those of the story events in the film?

A) an elliptical cut B) a graphic contrast C) a matched cut D) a nondiegetic insert Answer: D Accessibility: Keyboard Navigation

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22) Which of the following was a common approach to lighting actors in Montage films?

A) Character appears against soft-focus background; fill and backlighting define the outline of the figure.

B) Character appears against black background; the front of the character's face is dark while the sides are strongly lit.

C) Character appears against solid background; strong frontal lighting makes the figure appear "squashed" or on the same plane with the background.

D) Character appears in the foreground in silhouette; background is lit according to the threepoint lighting system.

Answer: B Accessibility: Keyboard Navigation 23) Montage films came under attack within the Soviet Union starting around 1927 because: A) they were judged to be more appropriate for sophisticated foreigners than for the uneducated peasant population at home.

B) they were too imitative of the American cinema.

C) they were losing money overseas.

D) they were critical of Stalin's economic policies.

Answer: A Accessibility: Keyboard Navigation 24) Which of the following was NOT an objective set down for the Soviet film industry under the First Five-Year Plan?

A) to tailor films strictly to the needs of workers and peasants B) to increase film exportation to non-Western markets C) to increase the number of movies produced D) to build equipment factories to supply all the industry's needs Answer: B Accessibility: Keyboard Navigation 25) The main effect of the nationalization of the Soviet film industry in 1919 was the discovery of many old films—both Russian and foreign—that had been stored away.

Answer: TRUE Accessibility: Keyboard Navigation 26) "Agit-vehicles" were films designed to ease the stars of prerevolutionary Russian cinema into roles in films that championed Bolshevik principles.

Answer: FALSE Accessibility: Keyboard Navigation

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27) The major implication of Lev Kuleshov's experiments was that in cinema, the viewer's response depended less on the individual shot than on the montage of the shots.

Answer: TRUE Accessibility: Keyboard Navigation 28) Sergei Eisenstein, Lev Kuleshov, Vsevolod Pudovkin, Dziga Vertov, and the FEKS group were the principal early exponents of Soviet Montage.

Answer: TRUE Accessibility: Keyboard Navigation 29) Most non-Montage Soviet films of the silent period tended to be topical comedies or conventional literary adaptations.

Answer: TRUE Accessibility: Keyboard Navigation 30) Because of the primacy of editing in the art of Soviet Montage cinema, Montage directors paid little attention to the camera and rarely experimented with unconventional framings and angles.

Answer: FALSE Accessibility: Keyboard Navigation 31) Of the French Impressionist, German Expressionist, and Soviet Montage styles, only the Soviet Montage style lasted into the sound era.

Answer: TRUE Accessibility: Keyboard Navigation 32) Compare the activities of the Soviet film industry during the War Communism period (19181920) and during the years of the New Economic Policy (1921-1924). What difficulties arose for the industry during War Communism, and how were these problems remedied or addressed by the New Economic Policy?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) Situate the Constructivist movement within the broader trend of Modernism in the arts of the early twentieth century. What were the objectives of Constructivism, and which of those aims were especially important to the development of the Montage movement in film? Identify scenes or moments in a film screened in class that bear traces of the Constructivist influence.

Answer: Answer may vary.

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Test Bank for Film History: An Introduction, 4th Edition, Kristin Thompson, David Bordwell

34) How did the theories on filmmaking advanced by Lev Kuleshov, Dziga Vertov, and Sergei Eisenstein differ with regard to editing? In your answer, cite evidence from their films as well as their theoretical writings.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 35) How was mise-en-scène used as an element of montage in the films of Soviet directors? Give examples of how mise-en-scène was typically employed in Montage films.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

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