Film History An Introduction 4Th Edition By Kristin Thompson - Test Bank

Film History: An Introduction, 4e (Thompson) Chapter 1 The Invention and Early Years of the Cinema, 1880s-1904 1) Which form of entertainment was NOT a staple of American popular culture immediately prior to the invention of the cinema?

A) freak shows B) music hall entertainment C) historical theater D) radio Answer: D Accessibility: Keyboard Navigation 2) Which of the following is a George Eastman invention that was used in designing machines to take and project motion pictures?

A) celluloid roll film B) metal slide C) paper roll film D) glass lantern slide Answer: A Accessibility: Keyboard Navigation 3) Which of the following was NOT a necessary precondition for the invention of cinema?

A) a photographic base flexible enough to pass through a camera rapidly B) the capacity to project a rapid series of images on a surface C) the ability to encode an optical soundtrack directly on a filmstrip D) the existence of an intermittent mechanism for both cameras and projectors Answer: C Accessibility: Keyboard Navigation 4) Étienne Jules Marey provided an important precursor of motion pictures with his invention of ________, which exposed twelve images around the edge of a circular glass plate that made a single revolution in one second.

A) a photographic gun B) a colored zoopraxiscope C) the Kinetoscope D) the Cinématographe Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) The Zoetrope was: A) the theater that exhibited projected films for the first time in the United States.

B) the camera-projector developed by the Lumière brothers.

C) a nineteenth-century optical toy.

D) the studio in which the earliest Edison films were shot.

Answer: C Accessibility: Keyboard Navigation 6) Which of the following early cameras also doubled as a projector?

A) the Cinématographe B) the Biograph C) the Bioscop D) the Praxinoscope Answer: A Accessibility: Keyboard Navigation 7) Edison's Kinetoscope viewing box was initially highly profitable, but its popularity declined: A) because of competition from amusement parks.

B) because Edison oversaturated the market with the devices.

C) because other inventors found ways to project films on a screen.

D) because Edison lost a patent-infringement suit filed by American Mutoscope.

Answer: C Accessibility: Keyboard Navigation 8) Around 1895, the Lumière brothers decided to shoot their films at ________, which became the most commonly used international film speed for about twenty years.

A) sixteen frames per second B) forty-six frames per second C) twenty-four frames per second D) sixty frames per second Answer: A Accessibility: Keyboard Navigation 9) The Vitascope, a projector manufactured and marketed by Thomas Edison, was invented and initially exhibited by: A) Norman Raff and Frank Gammon.

B) Otway and Gray Latham.

C) Herman Casler and W. K. L. Dickson.

D) C. Francis Jenkins and Thomas Armat.

Answer: D Accessibility: Keyboard Navigation 2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

10) Short travelogue films offering views of distant lands were originally known as: A) panoramas.

B) scenics.

C) tropicals.

D) actualities.

Answer: B Accessibility: Keyboard Navigation 11) Which of the following nations was NOT one of the three primary film-producing countries during the first decade of cinema?

A) the United States B) France C) Germany D) England Answer: C Accessibility: Keyboard Navigation 12) What cinematographic innovation is Lumière camera operator Eugène Promio credited with?

A) superimposition B) slow motion C) the close-up D) the moving camera Answer: D Accessibility: Keyboard Navigation 13) Which of the following studios or individuals was NOT a significant producer of films in France in the middle and late 1900s?

A) Léon Gaumont B) Émile Reynaud C) Pathé Frères D) Georges Méliès Answer: B 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) Early English cinema became famous for its: A) special-effects cinematography.

B) primitive star system.

C) literary adaptations.

D) religious spectacles.

Answer: A Accessibility: Keyboard Navigation 15) The most notable British film producers of the early twentieth century worked in or near the city of: A) Manchester.

B) Dover.

C) Brighton.

D) London.

Answer: C Accessibility: Keyboard Navigation 16) What type of motion picture did NOT have a role in reviving audience interest in American films around 1898?

A) prizefight films B) Passion Plays C) Spanish-American War actualities D) exotic dance films Answer: D Accessibility: Keyboard Navigation 17) Which Edwin S. Porter film is known to be the first to use printed intertitles in American cinema history?

A) Jack and the Beanstalk B) Life of an American Fireman C) Uncle Tom's Cabin D) The Great Train Robbery Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) Edwin S. Porter's Life of an American Fireman (1903) is notable for: A) its extensive use of intercutting and sophisticated stop-motion effects.

B) the successive shots that show the same action from two vantage points.

C) the release of each of its shots as a separate film.

D) its adaptation of a best-selling novel.

Answer: B Accessibility: Keyboard Navigation 19) Which of the following was NOT a factor in the increased concentration by motion picture producers on fiction filmmaking in the middle 1900s?

A) the difficulty of planning nonfiction films in advance B) the proliferation of source material in newspapers and periodicals C) the rise in popularity of fiction films D) the cost of sending camera operators off to shoot actuality footage in distant locales Answer: B Accessibility: Keyboard Navigation 20) Locally produced motion pictures began appearing in each of the following countries prior to 1900 EXCEPT: A) India.

B) Spain.

C) England.

D) Bolivia.

Answer: D Accessibility: Keyboard Navigation 21) The cinema was one of the first significant technologies pioneered during the industrial revolution, later followed by the telephone and the automobile.

Answer: FALSE Accessibility: Keyboard Navigation 22) There is no single inventor of motion pictures; the cinema instead came about through an accumulation of contributions from inventors worldwide.

Answer: TRUE Accessibility: Keyboard Navigation 23) The 35mm film gauge pioneered by W. K. L. Dickson in the 1890s remained the standard gauge for motion pictures for over a hundred years.

Answer: TRUE Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

24) The fiction film was the most well-received type of motion picture until 1900, when it was supplanted in popularity by actualities.

Answer: FALSE Accessibility: Keyboard Navigation 25) Most films created during the 1890s contain between five and ten shots.

Answer: FALSE Accessibility: Keyboard Navigation 26) The first exhibitions of projected motion pictures in many countries were put on by Lumière representatives.

Answer: TRUE Accessibility: Keyboard Navigation 27) Georges Méliès was an early master of sophisticated stop-motion effects.

Answer: TRUE Accessibility: Keyboard Navigation 28) Copyright laws passed in the late 1890s helped curb the illegal duplication of film prints and enabled the top U.S. film producers to gain control over the circulation of their movies.

Answer: FALSE Accessibility: Keyboard Navigation 29) Explain the role of the Kinetoscope during the period of cinema's invention. How did the Kinetoscope modify the capabilities of earlier camera and projection systems?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) What steps did France's Lumière brothers take to make cinema a commercially viable enterprise? What kinds of Lumière movies were the most popular? How did the Lumières' activities influence the development of world cinema?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

31) In what ways did motion picture exhibitors in the late 1890s influence the presentation of motion pictures, or how audiences experienced motion pictures? Why did their control over their programs diminish around the turn of the century?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) What were Edwin S. Porter's significant contributions to the development of early narrative film? In what sense did Porter build upon the innovations of contemporaneous filmmakers, and for what purposes?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 2 The International Expansion of the Cinema, 1905-1912 1) Which of the following was NOT a significant factor in the expansion of the French film industry in the mid-1900s?

A) the expansion of the largest motion picture firms B) the popularity of imported American films C) the targeting of more affluent audiences D) increased leisure time for French citizens Answer: B Accessibility: Keyboard Navigation 2) The French screen comic Max Linder was important to early film history because: A) he was the most successful of the Chaplin imitators.

B) he started the trend of French comics working in Italian films.

C) his caricature appeared in the first French animated picture.

D) his films reflected the French film industry's bid for middle-class respectability.

Answer: D Accessibility: Keyboard Navigation 3) Which French director supervised Gaumont's film production until 1908?

A) Louis Feuillade B) Ferdinand Zecca C) Alice Guy D) Émile Cohl Answer: C Accessibility: Keyboard Navigation 4) In Italy, cinema won respect as a new art form earlier than in other European countries primarily because of: A) the opening of many permanent movie theaters.

B) the ubiquity of films projected at traveling fairs.

C) the publication of serious film journals.

D) tariffs imposed by the Italian government on exported films.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which type of film was NOT characteristic of Italian cinema of the 1910s?

A) the multireel picture B) the historical spectacle C) the neorealist film D) the comic series Answer: C Accessibility: Keyboard Navigation 6) Which European production company specialized in crime thrillers and somewhat sensationalistic melodramas?

A) Film d'Art B) Nordisk C) Itala D) Ambrosio Answer: B Accessibility: Keyboard Navigation 7) Which of the following is true of nickelodeons that spread in the United States between 1905 and 1907?

A) They were seasonal.

B) They were open only to select audience.

C) They were more expensive than vaudeville houses.

D) They were more regularly available than traveling exhibitions.

Answer: D Accessibility: Keyboard Navigation 8) Since 1897, the Edison company tried to force its competitors out of business by: A) importing multireel foreign films.

B) suing them for patent infringement.

C) producing films with more risque or salacious content.

D) hiring away their biggest stars.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) In December of 1908, the Edison company and American Mutoscope & Biograph (AM&B) created the Motion Picture Patents Company (MPPC) to: A) gain a larger share of the U.S. market.

B) encourage independent filmmakers in the United States.

C) expand the distribution of American films abroad.

D) encourage the production of feature-length motion pictures.

Answer: A Accessibility: Keyboard Navigation 10) The first distributor to effectively defy the Motion Picture Patents Company (MPPC) and start his own production firm—the Independent Motion Picture Company—was: A) William Fox. B) J. Stuart Blackton.

C) Carl Laemmle.

D) Harry Warner.

Answer: C Accessibility: Keyboard Navigation 11) Multireel films were uncommon in the United States in the nickelodeon era because: A) exorbitant production costs made them unprofitable.

B) the Motion Picture Patents Company's (MPPC's) rigid release system allowed for only single reels.

C) audiences could not follow the plots of many longer pictures.

D) studios could not convince seasoned playwrights to work in Hollywood.

Answer: B Accessibility: Keyboard Navigation 12) The first American film companies were located in: A) Chicago.

B) Southern California.

C) Florida.

D) New York and New Jersey.

Answer: D 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.

13) By the late nickelodeon era, every aspect of silent film style came to be used to: A) enhance narrative clarity.

B) beautify a film's female lead.

C) showcase the talent of the actors.

D) emphasize spectacle.

Answer: A Accessibility: Keyboard Navigation 14) Which of the following is NOT true of the use of expository intertitles in films circa 1914?

A) They were used to set up the situation.

B) They suggested characters' thoughts more precisely than did gestures.

C) They summarized the upcoming action.

D) They were often written in the third person.

Answer: B Accessibility: Keyboard Navigation 15) The term "reframing" refers to: A) building a new lighting setup following the completion of a scene.

B) the act of moving a camera toward an actor, from a long shot to a close-up.

C) a slight readjustment used by the camera operator to keep an actor in the frame when he or she moves about.

D) a return to a static shot of a character after he or she has had a dream or a flashback.

Answer: C Accessibility: Keyboard Navigation 16) In the silent era, what color tint was commonly used to signify an interior space at night?

A) blue B) sepia C) amber D) violet Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) In using analytical editing, a filmmaker: A) breaks down a single space into separate framings—for example, by cutting in closer to the action.

B) cuts back and forth between two different spaces to imply that the actions in those spaces are taking place simultaneously.

C) cuts from a shot in which characters leave the frame to a shot in which they reappear at the opposite side of the frame.

D) cuts between two different spaces, such as a bank and a tenement, to make a social comment.

Answer: A Accessibility: Keyboard Navigation 18) An "insert" is a specific type of cut used in: A) parallel editing.

B) contiguity editing.

C) crosscutting.

D) analytical editing.

Answer: D Accessibility: Keyboard Navigation 19) Which of the following shot combinations is best described as a shot/reverse shot?

A) Shot A shows a character looking offscreen; Shot B shows what that character is looking at but not from his or her optical point of view.

B) Shot A shows a character looking offscreen; Shot B shows another character looking in the opposite direction at the first.

C) Shot A shows a character's interior state; Shot B shows that character in his exterior surroundings (or vice versa).

D) Shot A shows a character looking offscreen; Shot B shows what that character is looking at from his or her optical point of view.

Answer: B Accessibility: Keyboard Navigation 20) Which of following is one of the earliest animation techniques that made use of frame-byframe animation of objects?

A) pixilation B) cel shading C) rotoscoping D) skeletal animation Answer: A Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Pathé developed a hand-stencil coloring system and was using it to add color to all its releases by 1905.

Answer: FALSE Accessibility: Keyboard Navigation 22) By 1910, Denmark was second only to France in the number of films it sent around the world.

Answer: FALSE Accessibility: Keyboard Navigation 23) During the U.S. nickelodeon boom, most films shown in nickelodeons came from abroad.

Answer: TRUE Accessibility: Keyboard Navigation 24) The Motion Picture Patents Company (MPPC) was an oligopoly because its member firms cooperated to control the U.S. market and block the entry of new companies.

Answer: TRUE Accessibility: Keyboard Navigation 25) By 1905, film companies began to give screen credit to actors and exploited their popular actors for publicity.

Answer: FALSE Accessibility: Keyboard Navigation 26) In or around 1909, filmmakers began to put the camera slightly closer to the actors so that their facial expressions would be more visible.

Answer: TRUE Accessibility: Keyboard Navigation 27) Surviving footage from the earliest known Indian feature film, Raja Harishchandra, reveals that its director understood and employed contemporaneous principles of western filmmaking.

Answer: TRUE Accessibility: Keyboard Navigation 28) What is the difference between vertical integration and horizontal integration? In your answer, discuss the strategies pursued by Pathé Frères in the mid to late 1900s.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) What were the factors behind the nickelodeon boom of the mid-1900s? What were the reasons for the nickelodeon's popularity—what advantages did this type of exhibition venue offer to both theater owners and patrons?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) In what ways did the motion picture industry in the late 1900s attempt to make films more prestigious and film going more respectable? What pressures were producers and exhibitors responding to?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Explain the difference between intercutting, analytical editing, and contiguity editing by providing a brief example (actual or hypothetical) of each.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) How did film animation develop in the early twentieth century? What types of animation techniques did the earliest animators use? Give examples of specific animators or from specific films.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 3 National Cinemas, Hollywood Classicism, and World War I, 1913-1919 1) World War I severely curtailed filmmaking in which two important movie-producing nations?

A) Australia and New Zealand B) France and Italy C) Germany and the United States D) Russia and Germany Answer: B Accessibility: Keyboard Navigation 2) Identify a true statement about the Autorenfilm that arose in Germany during 1913.

A) It was publicized on the basis of a famous writer responsible for the script or the literary work from which the film was adapted.

B) It displayed a fascination with pictorial beauty and an interest in intense psychological exploration.

C) It challenged realistic art with the use of a distorted, graphic style of mise-en-scène.

D) It was marketed as the work of a great auteur—that is, an esteemed director.

Answer: A Accessibility: Keyboard Navigation 3) The Student of Prague (1913) was influential within the German cinema partly for its: A) highly exaggerated acting style.

B) opulent set decoration.

C) slow tracking shots.

D) photographic special effects.

Answer: D Accessibility: Keyboard Navigation 4) Which European film of the mid-1910s was renowned for its slow tracking shots, so much so that similar types of camera movement subsequently were described using this film's title?

A) Homunculus B) Atlantis C) Fantômas D) Cabiria Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which of the following was NOT a distinctively Italian film genre of the silent era?

A) diva films B) white telephone films C) strongman films D) frock-coat films Answer: B Accessibility: Keyboard Navigation 6) Which nation's cinema was well-known in the 1910s for its tragic endings?

A) Russia B) Canada C) Italy D) Germany Answer: A Accessibility: Keyboard Navigation 7) Which of the following is NOT true of Pathé Frères's response to World War I? A) It focused on its American distribution wing, releasing films made by independent producers in the United States.

B) It helped American films gain a greater share of the French market through its distribution.

C) It provided stable leadership for French film production by creating competitive alternatives to Hollywood cinema.

D) It backed away from vertical integration by concentrating on the distribution and exhibition of films.

Answer: C Accessibility: Keyboard Navigation 8) Modern-day exposure to and understanding of Swedish cinema of the 1910s is limited partly because of a 1941 fire that destroyed the negatives of the silent-era pictures produced by: A) Svenska in Sweden.

B) the Universum Film Aktien Gesellschaft (Ufa) in Germany.

C) Nordisk in Denmark.

D) the Unione Cinematografica Italiana (UCI) in Italy.

Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) One of the most important Swedish film directors, known for an austere and naturalistic style and for a favored mode of storytelling that stressed the consequences of a single action, was: A) Mauritz Stiller.

B) August Blom.

C) Victor Sjöström.

D) Georg af Klercker.

Answer: C Accessibility: Keyboard Navigation 10) Upon its formation in 1914, Paramount was instantly notable as: A) the exclusive distributor of Italian historical epics in the United States.

B) the first new firm invited to join the Motion Picture Patents Company since its inception in 1908.

C) the home studio of three of the world's most popular movie stars: Charlie Chaplin, Mary Pickford, and Douglas Fairbanks.

D) the first national distributor in the United States devoted solely to features.

Answer: D Accessibility: Keyboard Navigation 11) Around 1917, Paramount was releasing about 100 feature films per year and requiring theaters to show all of them to get any. This was an early instance of the practice known as: A) run-zone-clearance.

B) full slate scheduling.

C) block booking.

D) featherbedding.

Answer: C Accessibility: Keyboard Navigation 12) Which of the following was NOT a reason for the use of the continuity script by the Hollywood studios in the 1910s?

A) to allow a producer to estimate how much a given film would cost B) to settle the matter of which writers received screen credit on a film and under what designation C) to guide editors in putting a film together D) to allow film practitioners working in separate departments to coordinate their efforts Answer: B 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.

13) During the mid-1910s, filmmakers experimented with ________, lighting one part of the scene, motivated as coming from a specific source.

A) three-point lighting B) effects lighting C) soft lighting D) low-key lighting Answer: B Accessibility: Keyboard Navigation 14) Which of the following is NOT a characteristic of European cinematic style during the 1910s?

A) frequent cut-ins B) framing action in windows C) moving actors slightly to block and reveal key details D) reliance on deep sets Answer: A Accessibility: Keyboard Navigation 15) D. W. Griffith's The Birth of a Nation (1915) was extremely controversial because: A) it was rented to exhibitors at exorbitant rates, ensuring a loss for theaters that did not book it for a run of several months.

B) it was released without a National Board of Review seal of approval.

C) its multiple stories were intercut in a manner all but incomprehensible to contemporary audiences.

D) of its racist account of the role of African Americans in the post-Civil War South.

Answer: D Accessibility: Keyboard Navigation 16) Cecil B. De Mille is often thought of today primarily for his: A) historical epics of the sound era.

B) low-budget Westerns.

C) slapstick comedies.

D) sophisticated romantic comedies.

Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Keystone, the studio famous for its slapstick comedies and for introducing movie audiences to Charlie Chaplin, was headed by: A) Thomas H. Ince.

B) Mack Sennett.

C) Ben Turpin.

D) Hal Roach.

Answer: B Accessibility: Keyboard Navigation 18) Western star William S. Hart was well known for: A) his starring role in the very first Western, The Great Train Robbery.

B) his practice of wearing a white hat in all his films.

C) playing criminals or men with shady pasts.

D) specializing in fancy riding and stunts.

Answer: C Accessibility: Keyboard Navigation 19) The system of animation in which a figure is drawn on paper, then a portion of its body is cut away and redrawn on a sheet of paper below the figure's remaining portion was commonly known as: A) the slash system.

B) pixilation.

C) the peg system.

D) cel animation.

Answer: A Accessibility: Keyboard Navigation 20) Which of the following is NOT true of silent movies made in minor producing countries like Argentina and New Zealand?

A) They were seldom exported.

B) They were typically shot on location.

C) They were often preserved by government-run archives.

D) They used national literature and history as sources for their stories.

Answer: C Accessibility: Keyboard Navigation 21) During the 1910s, Paris was the center for the international circulation of U.S. films.

Answer: FALSE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Following World War I, film industries in other countries found that it was usually cheaper to buy an American film than to finance a local production.

Answer: TRUE Accessibility: Keyboard Navigation 23) Russian film acting during the 1910s was known for being intense and highly internalized.

Answer: TRUE Accessibility: Keyboard Navigation 24) The German blockade of film imports to several northern European countries during World War I helped boost Swedish production.

Answer: TRUE Accessibility: Keyboard Navigation 25) During the 1910s, Hollywood studios favored staging within a single shot and refined their approach by creating a complex choreography not seen in earlier years.

Answer: FALSE Accessibility: Keyboard Navigation 26) In the classical Hollywood cinema, the chain of cause and effect is rooted equally in social forces and character psychology.

Answer: FALSE Accessibility: Keyboard Navigation 27) Pick one of the following countries: Sweden, Russia, or Germany. Analyze how social and cultural factors influenced the development of style and/or narrative in that nation's cinema of the 1910s.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) What is a "serial," as it was known in the early silent era? In what ways did the serial act as a transitional form between the one-reel film and the feature? Support your answer with examples of notable serials and characteristics of influential serial directors.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) Why did the Hollywood style emerge and develop as it did? Identify the most important American movie firms of the 1910s, and summarize how the economic objectives of those companies influenced the style of storytelling subsequently labeled the "classical Hollywood cinema."

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Select a scene from a European or American film of the 1910s screened in your class, and explain how its visual style—mise-en-scène, editing, or cinematography—might be different had that scene been shot, staged, and assembled by a modern-day filmmaker.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 4 France in the 1920s 1) A ________ involves several filmmakers, working for a limited period and usually in a single country, whose films share significant formal and stylistic traits.

A) cycle B) genre C) series D) movement Answer: D Accessibility: Keyboard Navigation 2) Which avant-garde movement of the silent era did NOT arise within a commercial film industry?

A) Surrealism B) Soviet Montage C) French Impressionism D) Expressionism Answer: A Accessibility: Keyboard Navigation 3) One of the significant causes of the disunity between the three sectors—production, distribution, and exhibition—of the French film industry in the 1920s was that: A) exhibitors favored American films that attracted the biggest audience.

B) Pathé owned the biggest film exchange in France, while Gaumont owned most French movie theaters.

C) producers had succeeded in forcing the government to limit imported films, thus cutting into distributors' and exhibitors' profits.

D) distributors refused to handle films judged to be morally harmful by independent censorship boards.

Answer: A Accessibility: Keyboard Navigation 4) A lack of capital investment hampered French film companies in reequipping their studios to catch up with the technological innovations made by American firms during the 1910s, particularly in: A) special effects.

B) set construction.

C) lighting.

D) camera techniques.

Answer: C Accessibility: Keyboard Navigation 1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) On a film shoot, a French filmmaker of the late 1910s would typically light a scene: A) entirely with sunlight, even interiors.

B) by starting with sunlight, then blocking off parts of the light to create dark patches within the set.

C) as if lighting for a stage play, complete with spotlights following the major characters.

D) by eliminating sunlight altogether and creating desired effects with artificial light.

Answer: B Accessibility: Keyboard Navigation 6) Which of the following is true of French serials produced in the 1920s?

A) Having suffered a sharp decline in audience popularity, they died out by the middle of the decade.

B) Owing to social pressures against the glorification of crime, they featured stories about master criminals less often than serials of the 1910s did.

C) They attained astonishing success in Asian markets.

D) They accounted for 80 percent of the total film production in France.

Answer: B Accessibility: Keyboard Navigation 7) The surviving work of André Antoine is admired for its: A) innovative narrative patterns.

B) use of distortions and repetition.

C) emphasis on visual rhythm.

D) combination of naturalism and lyricism.

Answer: D Accessibility: Keyboard Navigation 8) In order to suggest the subjective effect of a musical passage in a scene from La Dixième symphonie, director Abel Gance: A) edited together a series of unrelated images at a rate of one every four frames.

B) used pixilation to animate musical notes gliding along a staff.

C) superimposed a dancer over piano keys.

D) inserted a hand-colored sequence of abstract shapes.

Answer: C Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The most popular of the French Impressionist filmmakers was: A) Louis Delluc.

B) Abel Gance.

C) Marcel L'Herbier.

D) Germaine Dulac.

Answer: B Accessibility: Keyboard Navigation 10) Which of the following production groups made important contributions to French Impressionism after having fled from Russia following the Soviet government's nationalization of the film industry?

A) Cinéromans B) Film d'Art C) Films Albatros D) Gaumont Answer: C Accessibility: Keyboard Navigation 11) In 1920s' France, the term "cinéma pur" referred to: A) abstract films that concentrated on graphic and temporal form.

B) the first specialized film journal, founded and edited by Louis Delluc.

C) a campaign started by production companies to keep foreign films out of French theaters.

D) a group of film enthusiasts devoted to alternative cinema.

Answer: A Accessibility: Keyboard Navigation 12) All French Impressionist theorists agreed that cinema should strive to distance itself from which art form?

A) literature B) painting C) dance D) theater Answer: D 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.

13) According to French Impressionists, the basis of cinema, photogénie, lay primarily in: A) the expressiveness of the actors.

B) the relationships created by editing.

C) the properties of the camera.

D) the literary value of the script.

Answer: C Accessibility: Keyboard Navigation 14) Which of the following is NOT true of French Impressionists?

A) They believed that emotions should be the basis for films.

B) They argued that films should imitate literary narratives.

C) They insisted that their attention to rhythm put their films closer to music than to any other art form.

D) They treated the cinema as a pure medium, presenting unique possibilities to the artist.

Answer: B Accessibility: Keyboard Navigation 15) A typical characteristic of French Impressionist films is the use of: A) continuity devices such as shot/reverse shot and crosscutting.

B) frame stories and open endings.

C) extreme distortion to express emotional realities.

D) superimpositions to convey character thoughts or memories.

Answer: D Accessibility: Keyboard Navigation 16) The French Impressionist film that contains the first known use of single-frame shots in film history is: A) Rose-France.

B) Menilmontant.

C) Kean.

D) La Roue.

Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which of the following uses of mise-en-scène was NOT common in French Impressionist cinema?

A) employing modernist décor B) employing stylized sets with distorted buildings C) shooting through a translucent object D) filming in real locations Answer: B Accessibility: Keyboard Navigation 18) Jean Epstein's La Glace à trois faces was unlike many French Impressionist films because of its: A) innovative and ambiguous narrative design.

B) huge domestic commercial success.

C) use of the triptych, an extremely wide projection format.

D) use of extreme distortion to express emotional reality.

Answer: A Accessibility: Keyboard Navigation 19) Which of the following was NOT one of the factors that led to the diversification and the eventual decline of the French Impressionist movement?

A) the impact of experimental films B) the diffusion of Impressionist style C) the popularity of Expressionist films D) the introduction of sound in films Answer: C Accessibility: Keyboard Navigation 20) The introduction of sound motion pictures in the late 1920s made it virtually impossible for filmmakers to continue making Impressionist films primarily because: A) French-language films did not compete well in the world film market.

B) sound production was prohibitively expensive.

C) the introduction of sound drew film aficionados away from alternative cinemas (or cinéclubs), which Impressionists had relied on for exhibition.

D) film sound was disparaged by the movement's foremost theorists as incompatible with photogénie.

Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) In the 1920s, French filmmakers went on location more often than did their counterparts in Germany or the United States.

Answer: TRUE Accessibility: Keyboard Navigation 22) Some Impressionist directors divided their time between avant-garde projects and more profit-oriented films.

Answer: TRUE Accessibility: Keyboard Navigation 23) Stylistic techniques in French Impressionist cinema most often functioned to convey character subjectivity.

Answer: TRUE Accessibility: Keyboard Navigation 24) Most of the narratives in French Impressionist films were as innovative and unconventional as the visual style.

Answer: FALSE Accessibility: Keyboard Navigation 25) Because some Impressionist directors were able to form their own production companies, and because of the support provided by ciné-clubs and small cinemas, the late Impressionist period saw a proliferation of short films.

Answer: TRUE Accessibility: Keyboard Navigation 26) French Impressionists failed to thoroughly explore character subjectivity as an element of filmic storytelling.

Answer: FALSE Accessibility: Keyboard Navigation 27) Perhaps the most important artistic trend of the early twentieth century was labeled "modernism." Summarize some of the principal tenets of modernism and specify how these ideas influenced the development of French Impressionism (or German Expressionism [Ch. 5] or Soviet Montage [Ch. 6]) in film.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) What created the problems confronting French film production between 1918 and 1928?

Identify the three primary factors as identified in the text and summarize the effects of each of these causes.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 29) The formal qualities of French Impressionism derived partly from the directors' beliefs about the cinema as an art form. What were these beliefs? Explain how the Impressionists' theories on the cinema translated to their films with regard to cinematography and editing.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Why did French Impressionism decline as a unified filmmaking movement in the late 1920s?

How did pressures from both inside and outside the movement influence this decline?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 5 Germany in the 1920s 1) Which of the following is NOT a reason for the growth of the German film industry after World War I? A) the diminishing of anti-German sentiment in enemy countries B) a government ban on imported films C) a robust post-war economy D) exchange rates unfavorable to the German mark Answer: C Accessibility: Keyboard Navigation 2) Directly after World War I, the leftist political climate in Germany led to: A) a brief abolition of censorship.

B) the liberal government's nationalization of the film industry.

C) the introduction of street films.

D) a talent and technology exchange with the Soviet Union.

Answer: A Accessibility: Keyboard Navigation 3) Which of the following is NOT true of The Cabinet of Dr. Caligari, the first German Expressionist film?

A) The actors exhibited jerky or dancelike movements.

B) The film used stylized sets, with strange, distorted buildings painted on canvas backdrops and flats in a theatrical manner.

C) The actors made little attempt at realistic performance.

D) The film exploited the Kuleshov effect by combining newsreel and staged footage.

Answer: D Accessibility: Keyboard Navigation 4) Which of the following is true of the characteristics of German Expressionist films?

A) Expressionist acting was deliberately exaggerated to match the style of the settings.

B) Performances in Expressionist films consisted of carefully controlled physical movements rather than the expression of emotions.

C) They downplayed individual characters as central causal agents and often made social forces the source of causes and effects.

D) They used camera movements to convey character subjectivity and enhance photogénie.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which narrative technique of German Expressionist literature was adopted by scriptwriters for Expressionist films?

A) the alienation effect B) the frame story C) the dangling cause D) the lying flashback Answer: B Accessibility: Keyboard Navigation 6) During the 1920s, descriptions of German Expressionist films often referred to the sets as: A) "invisible."

B) "threadbare."

C) "acting."

D) "fake."

Answer: C Accessibility: Keyboard Navigation 7) In German Expressionist films, the narrative often pauses or slows briefly when: A) sets are torn down and assembled in real time, as in the theater.

B) elements of mise-en-scène align into eye-catching compositions.

C) characters tell stories or describe troubling dreams.

D) an unfastened moving camera replicates the perceptual subjectivity of characters.

Answer: B Accessibility: Keyboard Navigation 8) Which was NOT a common tactic for blending the elements of mise-en-scène in a German Expressionist film?

A) the use of elaborate tracking shots B) the juxtaposition of similar shapes C) the use of stylized surfaces D) the use of symmetry Answer: A Accessibility: Keyboard Navigation 9) German Expressionism is distinctive primarily for its: A) montage cutting.

B) camerawork.

C) use of mise-en-scène.

D) use of natural lighting.

Answer: C Accessibility: Keyboard Navigation 2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

10) Camera movements and high or low angles were relatively rare in German Expressionist films because: A) most German studios were not technically equipped to handle these demands.

B) many directors had started their careers in German Expressionist theater and were accustomed to arranging the action in a single location.

C) during the war, German filmmakers had access only to Swedish and Danish movies and they were influenced by the static compositions that dominated the style of those films.

D) many Expressionist sets used false perspective to form an ideal composition when seen from a specific vantage point.

Answer: D Accessibility: Keyboard Navigation 11) Which of the following was NOT typically true of German Expressionist narratives?

A) They were set in exotic locales.

B) They were told from the viewpoint of a mad narrator.

C) They involved elements of horror or fantasy.

D) They were set in the past.

Answer: B Accessibility: Keyboard Navigation 12) Which Fritz Lang film is set in the present and uses Expressionist style to satirize the decadence of modern German society?

A) Madame Butterfly B) Dr. Mabuse, the Gambler C) Metropolis D) Kriemhild's Revenge Answer: B Accessibility: Keyboard Navigation 13) German scenarist Carl Mayer is considered the main force behind: A) the Kammerspiel genre.

B) the "New Objectivity" trend.

C) the German historical spectacle.

D) the street film.

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 traits is NOT typically found in Kammerspiel films?

A) a limited number of settings B) a heavy reliance on intertitles C) an unhappy ending D) a story that takes place in a short span of time Answer: B Accessibility: Keyboard Navigation 15) During the 1920s, Hollywood cinematographers and designers visited German studios to pick up tips on the use of: A) color processes.

B) zoom lenses.

C) models.

D) artificial lighting.

Answer: C Accessibility: Keyboard Navigation 16) The Last Laugh (1924) and Variety (1925) were both internationally renowned for their: A) spectacular camera movements.

B) rapid montage sequences.

C) highly stylized performances.

D) tragic endings.

Answer: A Accessibility: Keyboard Navigation 17) Which of the following production groups was NOT part of the German distribution company Parufamet?

A) Metro-Goldwyn-Mayer (MGM) B) Paramount C) Universum Film Aktien Gesellschaft (Ufa) D) Universal Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) One of the significant factors in the decline of German Expressionist cinema was: A) the onset of World War II. B) the departure of Expressionist filmmakers to Hollywood.

C) an unofficial ban on German imports by exhibitors in England and France.

D) the failure of Expressionist filmmakers to keep pace with the increased budgets of mainstream German cinema.

Answer: B Accessibility: Keyboard Navigation 19) The German avant-garde theater of the mid-1920s became less concerned with the depiction of extreme emotions (as exemplified by German Expressionism) and more interested in: A) the ironies of the social situation.

B) the purely pictorial quality of artworks.

C) American popular culture.

D) theories of human perception.

Answer: A Accessibility: Keyboard Navigation 20) In order to export their films to major markets outside Germany, the big German production companies made films in the mid- to late 1920s that: A) featured performers who looked and acted like certain American movie stars such as Charlie Chaplin and William S. Hart.

B) contained no intertitles.

C) emphasized their "Germanness" via the adaptation of classic German literature and the use of famed German monuments and landmarks as settings.

D) were stylistically indistinguishable from Hollywood pictures.

Answer: D Accessibility: Keyboard Navigation 21) Over the course of World War I, the number of active German film production companies decreased by almost 80 percent.

Answer: FALSE Accessibility: Keyboard Navigation 22) During the inflationary period of the early 1920s, the larger German production companies found it relatively easy to finance historical epics.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) German Expressionists favored extreme distortion to express an inner emotional reality rather than surface appearances.

Answer: TRUE Accessibility: Keyboard Navigation 24) German Expressionist films emphasize the composition of individual shots to an exceptional degree.

Answer: TRUE Accessibility: Keyboard Navigation 25) The return to a stable German currency in 1924 made it cheaper for companies to finance a new film in Germany than to buy a film from abroad.

Answer: FALSE Accessibility: Keyboard Navigation 26) The coming of sound combined with greater control over the film industry by conservative forces created an emphasis on light entertainment in German cinema during the late 1920s.

Answer: TRUE Accessibility: Keyboard Navigation 27) Explain how Germany's film industry was able to thrive during the early 1920s, a period of severe economic hardship and hyperinflation. How did the film industry flourish while other industries were devastated?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) German Expressionism in the cinema debuted with The Cabinet of Dr. Caligari in 1920, years after Expressionism was well established in other art forms. What techniques used in painting and theatrical design were adapted by Expressionist filmmakers?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 29) How were the elements of mise-en-scène used in German Expressionist cinema? Identify the important characteristics of costume, setting, and figure behavior in these films, and explain how these elements worked together; cite from the movies discussed in the text or from a film screened in class.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

30) How did advances in technological resources—as implemented by German studios after the war—influence the development of German film style over the course of the 1920s?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Identify the primary formal concerns of the "New Objectivity" trend, and explain how the films of G. W. Pabst demonstrate those concerns.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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.

Accessibility: Keyboard Navigation 7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

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

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 7 The Late Silent Era in Hollywood, 1920-1928 1) The merger between ________ resulted in the first production-distribution-exhibition firm with a truly national theater chain.

A) First National Exhibitors' Circuit and Stanley Company B) Metro and Goldwyn Pictures C) Twentieth Century Pictures and Fox Films D) Famous Players-Lasky and Balaban & Katz Answer: D Accessibility: Keyboard Navigation 2) Loew's, Inc., originally a chain of movie theaters, merged with two production companies in the late 1910s and 1920s to form: A) Metro-Goldwyn-Mayer (MGM).

B) 20th Century-Fox. C) the Producers Distributing Corporation.

D) Universal.

Answer: A Accessibility: Keyboard Navigation 3) During the late 1920s, the theater chains owned by the vertically integrated motion picture firms: A) played only the films produced by their home companies.

B) generated about one-fourth of total domestic box-office receipts.

C) encompassed over 70 percent of the nation's 15,000 theaters.

D) included many of the biggest first-run theaters.

Answer: D Accessibility: Keyboard Navigation 4) Balaban & Katz introduced what major innovation in their theaters in 1917?

A) the pipe organ B) the live vaudeville act C) air conditioning D) babysitting service Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which of the following is NOT true of conventional picture palaces of the late silent era?

A) They gave spectators the impression of sitting in an auditorium that opened onto a night sky.

B) They often incorporated elaborate ornamentation based on Italian baroque and rococo styles.

C) They were imitations of legitimate theaters.

D) They had huge chandeliers, domes, and balconies that were covered with stucco and gilt.

Answer: A Accessibility: Keyboard Navigation 6) Which future major motion picture company was NOT a member of the Little Five—firms that owned few or no theaters—during the 1920s?

A) Loew's B) Warner Bros.

C) Universal D) Fox Answer: A Accessibility: Keyboard Navigation 7) Will Hays was hired to head the Motion Picture Producers and Distributors of America (MPPDA) in 1922 for all of the following reasons EXCEPT: A) his religious background.

B) his flair for publicity.

C) his access to powerful figures in Washington.

D) his experiences as a nickelodeon owner.

Answer: D Accessibility: Keyboard Navigation 8) In addition to its duties in blocking censorship efforts by reform groups and state governments, the Hays Office also: A) established the Academy Awards in 1927.

B) pressured Hollywood's guilds to admit foreign-born members.

C) battled efforts by European nations to limit American exports.

D) published studies on the effects of movie watching on children.

Answer: C Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) In the three-point lighting system, the brightest light is the: A) key light.

B) backlight.

C) background light.

D) fill light.

Answer: A Accessibility: Keyboard Navigation 10) Before about 1919, most Hollywood films were shot: A) using panchromatic film stock.

B) with gauzy fabrics or filters placed before the lens.

C) with a hard-edge, sharp-focus look.

D) without the use of natural light.

Answer: C Accessibility: Keyboard Navigation 11) Rex Ingram's The Four Horsemen of the Apocalypse (1921) was significant, in part, because: A) it depicted war as destructive rather than glorious.

B) it won the first Academy Award for Best Picture.

C) it launched the American careers of Greta Garbo and John Gilbert.

D) it was funded entirely by independent theater owners.

Answer: A Accessibility: Keyboard Navigation 12) When his sophisticated comedies came under fire from censorship groups, Cecil B. De Mille responded by: A) resigning from the Motion Picture Producers and Distributors of America (MPPDA).

B) producing films that mixed risqué material with religious subject matter.

C) pressuring the Hays Office to ease its constraints on film content.

D) forming an independent production company.

Answer: B 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.

13) Which U.S. film ran nine hours in its original cut before Metro-Goldwyn-Mayer (MGM) removed director Erich von Stroheim from the project, cut the final release print down to two hours, and destroyed the excised footage?

A) Blind Husbands B) Ben-Hur C) Greed D) Sunrise Answer: C Accessibility: Keyboard Navigation 14) Which of these successful 1920s Hollywood pictures was NOT set during World War I? A) The Big Parade B) Wings C) The Four Horsemen of the Apocalypse D) A Woman of Paris Answer: D Accessibility: Keyboard Navigation 15) After years as a celebrated screen comedian, Douglas Fairbanks found even greater success during the 1920s in: A) Westerns.

B) horror films.

C) pacifist films.

D) swashbucklers.

Answer: D Accessibility: Keyboard Navigation 16) Of the four leading American slapstick comics of the 1920s, which one is today thought to be the one most interested in stories that exploited the cinematic medium?

A) Charlie Chaplin B) Buster Keaton C) Harry Langdon D) Harold Lloyd Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Director Josef von Sternberg became well known in Hollywood for a film style that featured: A) French Impressionist-style rapid editing.

B) naturalistic acting and settings.

C) "Germanic" camera movements that involved placing the camera on an elaborate elevator system.

D) textured, atmospheric lighting.

Answer: D Accessibility: Keyboard Navigation 18) For American film companies, hiring the best European personnel was a way to: A) ensure that no country would grow powerful enough to challenge Hollywood in world film markets.

B) drive down the cost of top creative personnel overall.

C) add stylistic polish to low-budget films.

D) shoot alternate, more "mature" versions of Hollywood films for overseas audiences.

Answer: A Accessibility: Keyboard Navigation 19) Which of the following is NOT true of the Hollywood film Flesh and the Devil (1926)?

A) It starred the single most successful of the imported European stars, Greta Garbo.

B) It was full of fancy camera movements and subjective camera effects.

C) It was the only production of the 1920s to borrow from European cinema.

D) It was directed by the well-established filmmaker Clarence Brown.

Answer: C Accessibility: Keyboard Navigation 20) Which of the following films does NOT show the influence of F. W. Murnau's work?

A) The Birth of a Nation B) Four Sons C) 7th Heaven D) The Fugitive Answer: A Accessibility: Keyboard Navigation 21) Oscar Micheaux was: A) F.W. Murnau's American cinematographer on Sunrise.

B) the most successful independent producer of animation during the 1920s.

C) the most successful African American producer-director of the silent and early sound periods.

D) the most successful French director to relocate to Hollywood before World War II. Answer: C Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) In 1927, the Disney studio switched to full animation with the: A) Popeye series.

B) Silly Symphony series.

C) Mickey Mouse series.

D) Oswald the Rabbit series.

Answer: D Accessibility: Keyboard Navigation 23) Central to the American film industry's growth in the 1920s was a strategy of buying and building movie theaters.

Answer: TRUE Accessibility: Keyboard Navigation 24) As head of the Motion Picture Producers and Distributors of America (MPPDA), Will Hays's strategy was to negotiate with state censorship boards and minimize the number of cuts made to controversial films.

Answer: FALSE Accessibility: Keyboard Navigation 25) Though the large-scale Western genre gained prestige during the 1920s, low-budget Westerns remained a staple of Hollywood production.

Answer: TRUE Accessibility: Keyboard Navigation 26) Because silent comedies depended on physical actions and humorous situations, slapstick comics did not attempt to make feature-length films until the sound period.

Answer: FALSE Accessibility: Keyboard Navigation 27) During the 1920s, black roles in mainstream Hollywood films were minor and still based on stereotypes.

Answer: TRUE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) Despite the existence of civil rights statutes in many northern cities, most movie theaters in the United States during the 1920s were segregated; that is, black patrons and white patrons sat in separate parts of auditoriums.

Answer: TRUE Accessibility: Keyboard Navigation 29) The rotoscope, developed in the 1920s, projected an early version of the widescreen processes that would rejuvenate the American film industry three decades later.

Answer: FALSE Accessibility: Keyboard Navigation 30) How did the major Hollywood firms respond to the challenge posed by First National Exhibitors' Circuit in 1917? What kinds of benefits resulted from the industry's adoption of vertical integration? Explain how this policy benefited both major and minor film companies.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Identify the major technological and aesthetic factors that influenced Hollywood film form during the 1920s. How did the resulting changes enhance or complement the classical narrative style, which was by then the industry norm? How are these changes evident in the film screened in class?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) What events or conditions motivated the calls for the moral reform of the American film industry in the early 1920s? How did the industry respond to these calls? Analyze how this response placated the reformers and at the same time protected the industry's own interests.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) In what ways were the formal innovations of European cinemas assimilated by American filmmakers and integrated into the classical Hollywood cinema during the late silent era? What kinds of contributions were made by European directors working in Hollywood?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

34) Under what conditions did African American audiences experience films during the silent era? In what ways did individual filmmakers or companies tailor their films to appeal specifically to these audiences?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 8 International Trends of the 1920s 1) American movie producers could afford to sell films cheaply in Europe during the 1920s because: A) most European film exchanges were covertly subsidized by American production firms.

B) of hugely favorable exchange rates.

C) they already could count on a huge, predictable income from domestic rentals alone.

D) vertical integration allowed Hollywood filmmaking budgets to be lower than in most European countries.

Answer: C Accessibility: Keyboard Navigation 2) A major mutual distribution pact between European nations was finalized in 1924 by firms from: A) Germany and France.

B) Italy and the Soviet Union.

C) the Soviet Union and Spain.

D) England and France.

Answer: A Accessibility: Keyboard Navigation 3) Which of the following was NOT a tactic used by European producers in the middle 1920s to make European films more competitive internationally?

A) coproductions B) films stressing the distinctly national qualities of the producing country C) implementation of mutual distribution agreements D) use of international casts Answer: B Accessibility: Keyboard Navigation 4) Which of the following was NOT a reason for the end of the cross-national cooperative efforts of the "Film Europe" movement?

A) the onset of the Great Depression B) the rise of extreme left-wing and right-wing dictatorships in Europe C) the international success of German cinema D) the introduction of sound films Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Techniques specific to French Impressionism and German Expressionism influenced the personal style of which world-renowned director?

A) Frank Capra B) Charlie Chaplin C) Alfred Hitchcock D) Robert Flaherty Answer: C Accessibility: Keyboard Navigation 6) A Page of Madness, a 1926 film that bore the influence of the major European avant-garde movements, was produced independently in: A) Spain.

B) Australia.

C) India.

D) Japan.

Answer: D Accessibility: Keyboard Navigation 7) Identify the Carl Dreyer film that is considered the greatest of all international-style silent films.

A) The President B) The Passion of Joan of Arc C) Thou Shalt Honor Thy Wife D) The Parson's Widow Answer: B Accessibility: Keyboard Navigation 8) Which of the following is NOT true of experimental films made in the 1920s?

A) They were usually short.

B) They were produced by the major production houses in Europe and the United States.

C) They were often deliberate attempts to undercut the conventions of commercial narrative filmmaking.

D) They were produced outside the film industry.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The origins of what one historian has termed "the alternative cinema network" can be traced to the theorist and filmmaker: A) Louis Delluc.

B) Lev Kuleshov.

C) Iris Barry.

D) Marcel L'Herbier.

Answer: A Accessibility: Keyboard Navigation 10) The earliest abstract animated film was made in Germany by: A) Ernst Lubitsch.

B) Robert Wiene.

C) Walter Ruttmann.

D) Fritz Lang.

Answer: C Accessibility: Keyboard Navigation 11) The burgeoning tradition of European abstract animation halted temporarily in 1925 because: A) its leading figures began making films using real objects.

B) a major continent-wide recession made animated films prohibitively expensive.

C) of the unexpected deaths of its leading practitioners.

D) there were no established outlets for the distribution or exhibition of such works.

Answer: A Accessibility: Keyboard Navigation 12) René Clair's Entr'acte was commissioned to be shown: A) at a benefit for Louis Delluc's Le Journal de Ciné-Club.

B) at rallies for Socialist political candidates.

C) at a New York exhibition of European modern art.

D) during the intermission of a Dadaist ballet.

Answer: D Accessibility: Keyboard Navigation 13) Surrealist films such as Luis Buñuel's Un Chien andalou aimed to: A) reduce film to its most basic elements to create lyricism and pure form.

B) create a clean storyline by bringing together seemingly random events.

C) experiment with single-frame editing.

D) tell stories that followed the inexplicable logic of dreams.

Answer: D 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) Fernand Léger and Dudley Murphy's Ballet mécanique is famous for a sequence in which: A) an opera house seems to split into two.

B) a shot of a washerwoman climbing a flight of steps is repeated identically many times.

C) a man inexplicably slices a woman's eye with a razor.

D) the hero's dream is heralded by a giant steaming teapot.

Answer: B Accessibility: Keyboard Navigation 15) Which of the following is NOT a property common to the "city symphony" films of the 1920s?

A) social commentary B) a "day-in-the-life-of" structure C) a lyrical depiction of the effects of wind and water D) color sequences Answer: D Accessibility: Keyboard Navigation 16) Which experimental narrative film featured the contributions of Gregg Toland and Slavko Vorkapich, both of whom went on to highly successful careers in the American commercial film industry?

A) Impatience B) The Fall of the House of Usher C) The Life and Death of 9413—a Hollywood Extra D) Borderline Answer: C Accessibility: Keyboard Navigation 17) Which of the following was NOT a main tendency in the documentary features of the late silent era?

A) the historical biography B) the attempt at direct recording of reality C) the compilation documentary D) the exotic film Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) Soviet documentarist Dziga Vertov believed that cinematographic special effects were: A) best reserved for fiction films.

B) part of the camera's superior ability to report the truth.

C) distortions of the reality filmmakers were meant to record.

D) evidence of the lack of imagination in capitalist filmmaking practice.

Answer: B Accessibility: Keyboard Navigation 19) By the end of the 1920s, the country producing more films than any other nation in the world was: A) India.

B) the United States.

C) Germany.

D) Japan.

Answer: D Accessibility: Keyboard Navigation 20) Which of the following was NOT an example of the influence of kabuki theater on early Japanese film?

A) Women's roles in movies were played by men.

B) All films were accompanied by a commentator standing near the screen.

C) Film programs typically ran under an hour in length.

D) Historical films featured bold samurai and acrobatic action.

Answer: C Accessibility: Keyboard Navigation 21) In 1923, Italy's fascist government, led by Benito Mussolini, formed L'Unione Cinematografica Educativa to make: A) documentaries.

B) historical spectacles.

C) Spaghetti Westerns.

D) Italian versions of German Expressionist imports.

Answer: A Accessibility: Keyboard Navigation 22) The idea that cooperation between European film industries could lead to more profit, increased budgets, improved production values, and eventually a healthy competition with American films in other world markets was gradually formulated as the "pan-European" cinema, or "Film Europe."

Answer: TRUE Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) Many of the earliest experimental films were made by modernist artists already established in other media.

Answer: TRUE Accessibility: Keyboard Navigation 24) German abstract animator Walter Ruttmann produced his first films using the technique of rotoscoping, a system that he picked up from American cartoons.

Answer: FALSE Accessibility: Keyboard Navigation 25) Filmmakers who specialized in "pure cinema" were not unified by membership in any modernist movement like Dada or surrealism.

Answer: TRUE Accessibility: Keyboard Navigation 26) The documentary form was particularly important in the Soviet Union; there all three types of documentary—exoticism, recording of reality, and compilation—found expression.

Answer: TRUE Accessibility: Keyboard Navigation 27) In the postwar years, the British film industry optimistically set out to compete with Hollywood through innovative cinematic techniques and pictorial dynamism.

Answer: FALSE Accessibility: Keyboard Navigation 28) Japan's emerging film industry was essentially wiped out by the Tokyo earthquake of 1923 and would not be rebuilt until after World War II. Answer: FALSE Accessibility: Keyboard Navigation 29) Discuss the motives behind the emergence of "Film Europe." How did the national film industries of Europe cooperate in combating the influence of American movies? In what ways did stylistic traits cross over from country to country? Why were these cooperative efforts halted at the end of the 1920s?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

30) What were the institutions that championed and promoted "art cinema" during the late silent period? Trace the evolution of these institutions from Europe to the United States, and provide examples of the strategies they used to foster alternative filmmaking practices.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) What were the theoretical and aesthetic principles that characterized the Dada, Surrealist, and "cinéma pur" movements? Which formal and stylistic qualities did their films share, and in what ways did they differ?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Compare and contrast the evolution of the studio system in Japan to the evolution of the Hollywood system. In particular, note the similarities and differences with regard to industry structure, film genre, and exhibition practices. What role did Japanese cultural history play in these developments?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 9 The Introduction of Sound 1) Warner Bros. initially considered converting to sound production as a way to: A) compensate for the lack of visual interest in its low-budget product.

B) respond to audience demand for talkies.

C) manufacture a pretense for terminating the contracts of high-priced foreign-born actors.

D) create a cost-cutting substitute for live entertainment on film programs.

Answer: D Accessibility: Keyboard Navigation 2) Don Juan, the feature on the program at the first public Vitaphone screening in August 1926, had: A) live orchestral accompaniment but no recorded soundtrack.

B) recorded music but no dialogue.

C) recorded dialogue that was badly out of synchronization with the picture.

D) four scenes in which the star sang and even spoke briefly.

Answer: B Accessibility: Keyboard Navigation 3) Which studio, having lost out to Warner Bros. on signing big-name theatrical talent, exploited sound technology via newsreels?

A) Paramount B) Fox C) First National D) Metro-Goldwyn-Mayer (MGM) Answer: B Accessibility: Keyboard Navigation 4) In the early 1930s, many American films were released in both sound and silent versions because: A) silent versions were exported to non-English-speaking markets.

B) roughly half of the American movie audience continued to prefer silent films.

C) if audiences did not like the sound of the lead actors' voices in a film, that film could be rereleased as a silent.

D) many small movie theaters could not afford to buy sound equipment, especially with the onset of the Great Depression.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) If music was to be heard during a scene in a very early sound film, ________.

A) the entire piece had to start and finish within a single unbroken shot B) actors had to remain silent throughout the length of the piece C) the instruments had to play near the set as the scene was filmed D) it could be recorded onto a disc but not onto the filmstrip itself Answer: C Accessibility: Keyboard Navigation 6) Because the microphones for early sound recording were insensitive, studios often insisted that: A) all diegetic sounds, effects, and dialogue be postdubbed.

B) actors take diction lessons and speak slowly and distinctly.

C) dialogue be cut from scenes unless essential for spectator comprehension.

D) lengthy conversations be rendered through intertitles.

Answer: B Accessibility: Keyboard Navigation 7) King Vidor's early talkie for Metro-Goldwyn-Mayer (MGM), Hallelujah, was significant for all of the following reasons EXCEPT: A) much of the dialogue was partially improvised by the actors.

B) despite its rural setting, it was shot entirely on a soundstage.

C) roughly half of the footage was filmed silent.

D) it featured an all-black cast.

Answer: B Accessibility: Keyboard Navigation 8) When Warner Bros. opened its successful all-talking picture The Singing Fool in Berlin in 1929, the result was: A) a huge flop, which discouraged American companies from selling their sound equipment in Europe.

B) widespread dissatisfaction over the dubbing of star Al Jolson by a German actor of considerably lesser musical talent.

C) a huge hit, which prompted the studio to open a studio in Germany and produce sound movies in German for the domestic market.

D) a court injunction, obtained by a German sound firm claiming patent infringement, that halted the film's run.

Answer: D Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) In his first sound picture, M, director Fritz Lang experimented with carrying over the sound from one scene to the next, a technique known as a: A) sound bridge.

B) temporal overlap.

C) dialogue hook.

D) sound overlap.

Answer: A Accessibility: Keyboard Navigation 10) Veteran silent director G. W. Pabst became known in the early sound era for making: A) operetta musicals.

B) German-language versions of American films.

C) pacifist films.

D) Nazi propaganda.

Answer: C Accessibility: Keyboard Navigation 11) Which of the following is NOT a stylistic device used in The Bartered Bride that typified the style of its director Max Ophüls?

A) deep staging B) elaborate camera movements C) carefully controlled physical movements D) direct address to the audience Answer: C Accessibility: Keyboard Navigation 12) Which European nation's theaters were NOT fully wired for sound projection at the end of the 1930s?

A) the Soviet Union B) Germany C) France D) Great Britain 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.

13) Sergei Eisenstein and V. I. Pudovkin were among the Soviet Montage directors who in 1928 signed the "Statement on Sound" declaring that film sound: A) should be thought of as the "mortar" in the brick-by-brick (that is, shot-by-shot) construction of a film.

B) should be welcomed as a tool for helping cinema present a more complete reproduction of reality.

C) should not simply duplicate the image but should add to the image in some way.

D) should not be used until all of the Soviet Union's theaters, permanent and portable, were wired for sound projection.

Answer: C Accessibility: Keyboard Navigation 14) The last Soviet Montage film—a film that used sound in particularly vivid ways—was V. I. Pudovkin's: A) Deserter.

B) Enthusiasm.

C) The Earth Thirsts.

D) Plan for Great Works.

Answer: A Accessibility: Keyboard Navigation 15) The most widely known of the early French sound directors was: A) Maurice Chevalier.

B) Jean Renoir.

C) Jean Grémillon.

D) René Clair.

Answer: D Accessibility: Keyboard Navigation 16) Which of the following sound techniques did director Alfred Hitchcock NOT use in his first sound film, Blackmail?

A) postdubbing B) "voice-of-God" narration C) sound bridge D) subjective speech Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which of the following was NOT a reason for the slow conversion to sound by Japanese producers?

A) They were reluctant to pay the high royalty fees demanded by U.S. equipment suppliers.

B) Many small firms could not sustain the costs of sound production.

C) The powerfully unionized benshi actively resisted the transition.

D) Major studios were reluctant to invest in sound technology.

Answer: D Accessibility: Keyboard Navigation 18) The Japanese film industry was convinced to convert to talkies by the success of the film: A) Madam and Wife B) The Jazz Singer C) The Blue Angel D) Golden Mountains Answer: A Accessibility: Keyboard Navigation 19) By 1929, many film producers decided that the best way to preserve foreign markets and the best solution to the problems caused by the language barrier was to: A) reshoot additional versions of each film, with the actors speaking different languages in each.

B) eliminate dialogue in foreign versions and substitute intertitles.

C) dub a new soundtrack in a foreign language for each film.

D) show films abroad with no translation at all.

Answer: A Accessibility: Keyboard Navigation 20) For several years starting in 1929, Paramount turned out dozens of films in as many as fourteen languages at their studio in: A) Belgium.

B) England.

C) France.

D) Italy.

Answer: C Accessibility: Keyboard Navigation 21) The introduction of synchronized sound is often dated from 1927, when Warner Bros. released the enormously successful The Jazz Singer.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) The sound-on-disc process used by filmmakers in the 1930s converted sound into light waves reproduced on a photographic strip running alongside the images on regular 35mm film.

Answer: FALSE Accessibility: Keyboard Navigation 23) In the years immediately following the transition to sound films, American filmmakers avoided the constraints of multicamera shooting by filming much of the footage silent and dubbing in sound later.

Answer: FALSE Accessibility: Keyboard Navigation 24) The Blue Angel by Josef von Sternberg is famous for its realistically motivated offscreen sound.

Answer: TRUE Accessibility: Keyboard Navigation 25) Since French studios were still being wired for sound in 1929, the earliest French sound films were produced in London and Berlin.

Answer: TRUE Accessibility: Keyboard Navigation 26) The 1928 premiere of Vitaphone shorts in England created a mania for talking pictures and caused a rush for British studios to convert to sound.

Answer: FALSE Accessibility: Keyboard Navigation 27) Sound production proceeded more slowly in Britain than in any other major filmmaking nation in the 1930s.

Answer: FALSE Accessibility: Keyboard Navigation 28) What factors led the major Hollywood studios to become interested in sound film during the mid- and late 1920s? Which system did the studios decide to go with when they converted to sound film production? Why? Summarize the technological advantages and drawbacks of the sound-on-film and sound-on-disc processes.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) What logistical difficulties were posed by early attempt at sound recording? How did U.S. filmmakers address these problems and bring sound in line with the classical Hollywood style?

Cite examples from films discussed in the text or from the film(s) screened in class.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) How were German firms able to successfully challenge Hollywood for the control of sound film production and exhibition in Europe? How did German directors use sound in ways that were distinct from Hollywood practice?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Pick two of the following countries: the Soviet Union, France, Great Britain, Japan. In a well-written essay, compare the ways in which your chosen countries converted to sound film production and contrast the methods by which those nations' leading directors used sound to enhance their films.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 10 The Hollywood Studio System, 1930-1945 1) Which of the following companies was NOT one of the Little Three?

A) United Artists B) Fox C) Columbia D) Universal Answer: B Accessibility: Keyboard Navigation 2) Throughout the 1930s and 1940s, Cecil B. De Mille continued as a mainstay of Paramount, the studio he had helped start, with a series of: A) integrated musicals.

B) film noirs and gangster films.

C) Westerns.

D) big-budget historical films.

Answer: D Accessibility: Keyboard Navigation 3) Which of the following statements is NOT true about Warner Bros. during the 1930s?

A) It was known for its European-style productions, many of which were directed by European émigrés.

B) In total assets, it was as big as Metro-Goldwyn-Mayer (MGM).

C) It concentrated on creating popular genres and then mining them.

D) Its stable of popular actors worked in more films than those employed at the other Majors.

Answer: A Accessibility: Keyboard Navigation 4) Which firm stayed afloat in the late 1930s because of its distribution of Walt Disney's animated films?

A) Radio-Keith-Orpheum (RKO) B) Republic C) Metro-Goldwyn-Mayer (MGM) D) Universal Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which of the following is NOT true of the Production Code enforced by the Motion Picture Producers and Distributors of America (MPPDA)?

A) It was a summary of the types of subject matter that could get movies cut by local censors or banned for Catholic viewers.

B) It saved Hollywood money by pressuring filmmakers to avoid shooting scenes that would be snipped out.

C) It was a tool of the prudish minds of MPPDA officials.

D) It helped block potentially more extreme national censorship.

Answer: C Accessibility: Keyboard Navigation 6) From 1930 to 1945, United Artists was known for specializing in all of the following works EXCEPT: A) slapstick musicals with popular Broadway star Eddie Cantor.

B) B Westerns.

C) prestigious British imports.

D) independent productions from David O. Selznick and Samuel Goldwyn.

Answer: B Accessibility: Keyboard Navigation 7) Which of the following statements is NOT true of Yiddish filmmaking during the 1930s?

A) Production was halted by the outbreak of World War II. B) Yiddish films centered on family crises and the clash between traditional values and modern urban life.

C) The most successful Yiddish films were distributed by Big Five companies.

D) Yiddish films featured frequent musical interludes.

Answer: C Accessibility: Keyboard Navigation 8) Which of the following was NOT a tactic used by exhibitors to attract patrons during the Great Depression?

A) double and triple features B) uniformed ushers C) prize giveaways D) food and beverages in the lobbies Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The first feature film to use three-strip Technicolor was: A) Captains Courageous.

B) The Wizard of Oz. C) The Adventures of Robin Hood.

D) Becky Sharp.

Answer: D Accessibility: Keyboard Navigation 10) For studio films during the classical Hollywood period, a scene in which characters ride in a car was typically: A) done using a traveling matte, or a composite special-effects process.

B) done by filming the vehicle in a studio while the background landscape passes on a screen behind the actors.

C) shot on location using a camera mount fixed onto the hood of a specially constructed vehicle.

D) filmed by a camera operator seated in the vehicle's back seat.

Answer: B Accessibility: Keyboard Navigation 11) The "soft" cinematography style became more pervasive during the 1930s partly because: A) of the innovations devised by cinematographer Gregg Toland for the film Citizen Kane.

B) of the introduction of filters and glass masks.

C) of the introduction of orthochromatic film stock.

D) studio laboratories typically processed film to make it look grayer and softer.

Answer: D Accessibility: Keyboard Navigation 12) In the 1940s, staging in widely separated planes with deep focus became common practice in Hollywood cinema because of the influence of the films directed by: A) Billy Wilder.

B) Orson Welles.

C) George Cukor.

D) John Huston.

Answer: B 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.

13) Several stage directors left New York to go work in Hollywood following: A) the introduction of sound film.

B) the U.S. declaration of war on Germany and Japan.

C) the blacklisting of suspected Communists in American theater.

D) a prolonged strike by New York theater guilds during the early 1930s.

Answer: A Accessibility: Keyboard Navigation 14) Preston Sturges is one of the directors of the early sound era who: A) specialized in prestigious literary adaptations.

B) began his career in film as a screenwriter.

C) emigrated to Hollywood from Germany after the Nazis gained power.

D) joined the military during World War II and directed war documentaries.

Answer: B Accessibility: Keyboard Navigation 15) Which subcategory within the musical genre died out early in the sound era?

A) integrated musicals B) operetta musicals C) backstage musicals D) revue musicals Answer: D Accessibility: Keyboard Navigation 16) Less a genre than a stylistic and narrative tendency, ________ is often considered to have started in 1941 with Huston's The Maltese Falcon or even earlier with Radio-Keith-Orpheum's (RKO's) B film Stranger on the Third Floor.

A) the gangster film B) the film noir C) the horror film D) the backstage musical Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) The horror films produced by Val Lewton at Radio-Keith-Orpheum (RKO) in the 1940s were significant for: A) the avoidance of graphic depictions of monsters and violence.

B) transferring classic nineteenth-century horror novels to present-day American settings.

C) making stars out of Bela Lugosi and Boris Karloff.

D) the use of elaborate makeup and costume to depict monstrous characters.

Answer: A Accessibility: Keyboard Navigation 18) Which American film of the 1930s used editing and framing to create images of collective triumph somewhat reminiscent of Soviet films of the same era?

A) I Was a Male War Bride B) Angels with Dirty Faces C) Our Daily Bread D) I Am a Fugitive from a Chain Gang Answer: C Accessibility: Keyboard Navigation 19) Which of the following was NOT a narrative or stylistic influence on the development of American film noir?

A) German Expressionism B) American hard-boiled detective fiction C) French Poetic Realism D) German New Objectivity Answer: D Accessibility: Keyboard Navigation 20) Which of the following animated films made extensive use of the multiplane camera?

A) Bambi B) Snow White and the Seven Dwarfs C) Gulliver's Travels D) The Three Little Pigs Answer: A Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) The Warner Bros. cartoon unit made animated shorts distinctive for their: A) elaborate groups of moving figures.

B) blend of rotoscoped movements and caricatural portrayals.

C) detailed backgrounds.

D) speed, topicality, and silly humor.

Answer: D Accessibility: Keyboard Navigation 22) The most striking innovation of the 1930s was color filmmaking.

Answer: TRUE Accessibility: Keyboard Navigation 23) By early 1930, outside pressure for censorship forced the Motion Picture Producers and Distributors of America (MPPDA) to adopt the Production Code that outlined moral standards governing the depiction of crime, sex, violence, and other controversial subjects in films.

Answer: TRUE Accessibility: Keyboard Navigation 24) In the 1930s and 1940s, color in film was thought to be nonrealistic and was often associated with spectacle or fantasy.

Answer: TRUE Accessibility: Keyboard Navigation 25) Technological innovations of the era from 1930 to 1945 did not fundamentally change the classical Hollywood approach to filmmaking.

Answer: TRUE Accessibility: Keyboard Navigation 26) Most Hollywood filmmakers of the 1930s clustered actors together in a relatively shallow area and then cut among them using shot/reverse shot.

Answer: TRUE Accessibility: Keyboard Navigation 27) All of the deep-focus effects in Orson Welles's Citizen Kane were done in a single exposure, without the aid of special cinematographic effects.

Answer: FALSE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) The American war films of the 1930s reflected the growing militarism and interventionist mood of the American people.

Answer: FALSE Accessibility: Keyboard Navigation 29) Identify the Big Five Hollywood studios (or the Majors) of the 1930s and summarize the activities of each during this decade. What were their strategies for weathering the effects of the Great Depression? What kinds of films did each specialize in?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) What types of film content caused problems for the major Hollywood production companies during the late 1920s and the early 1930s? How did the Hays Office operate to protect, rather than hinder, the interests of the American film industry? Explain how the Production Code regulations helped modify the content of Hollywood movies.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Pick two of the following stylistic categories: sound recording, camera movement, color, special effects, cinematography styles. In a well-written essay, analyze how innovations within these categories influenced the development of the Hollywood style. In what ways did these innovations complement the aims of classical continuity filmmaking?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Pick two of the following genres: the war film, the gangster film, the screwball comedy, the musical. Describe the evolution of these genres between 1930 and 1945 and provide examples of representative films. What changes took place, and why?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) Compare and contrast the production practices of the top three animation studios of the studio era: Disney, Fleischer, and Warner Bros. What sorts of animation techniques did each specialize in? How did their individual expertise influence the style and makeup of the studios' signature characters?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 11 Other Studio Systems 1) The 1927 Quota Act passed by the British government required in part that: A) theaters devote a minimum portion of screen time to British films.

B) producers continue making silent films to serve theaters outside the major urban centers.

C) British films receive high budgets to compete with Hollywood imports.

D) Gaumont-British and British International Pictures be broken up into smaller production and distribution firms.

Answer: A Accessibility: Keyboard Navigation 2) The international success of the British film The Private Life of Henry VIII led to a sixteenpicture distribution contract between United Artists and producer: A) Herbert Wilcox.

B) Emeric Pressburger.

C) Michael Balcon.

D) Alexander Korda.

Answer: D Accessibility: Keyboard Navigation 3) British producer Michael Balcon achieved success at Gaumont-British through a policy of: A) producing quota quickies.

B) making films with specifically British subject matter.

C) adapting Shakespeare's classics.

D) tailoring films for overseas audiences.

Answer: B Accessibility: Keyboard Navigation 4) The dinner scene in Sabotage demonstrates director Alfred Hitchcock's ability to: A) manipulate the volume of spoken dialogues to suggest character subjectivity.

B) stage complex actions in depth on several planes during an unbroken long take.

C) merely hint at the emotions of characters by turning their faces away from the camera especially at dramatic moments.

D) frame and edit shots in such a way as to allow spectators to grasp characters' thoughts.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Quota quickies were important for the British film industry during the 1930s because: A) some achieved moderate success as exports.

B) they kept employment in the film industry high, despite the Depression.

C) they provided "A" level studio directors with occasional forums for formal experimentation.

D) they kept stars working, thus maximizing a studio's return on investment in creative personnel.

Answer: B Accessibility: Keyboard Navigation 6) In the context of styles of filmmaking, unlike the Japanese director Yasujiro Ozu, the Japanese director Kenji Mizoguchi: A) proved to be a master of static.

B) preferred short takes.

C) maintained an everyday humor in all of his films.

D) cultivated a style of long-shot framings.

Answer: D Accessibility: Keyboard Navigation 7) During the 1930s, which of the following genres of Indian films used a plot derived from legend and the literary epics?

A) the stunt film B) the mythological film C) the social film D) the devotional film Answer: B Accessibility: Keyboard Navigation 8) Identify an Indian film genre of the 1930s that was a romantic melodrama set in contemporary times.

A) the mythological film B) the social film C) the devotional film D) the stunt film Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The shomin-geki, as exemplified by the films of director Heinosuke Gosho, was a Japanese film genre based on: A) lower-class Japanese life.

B) mothers and daughters.

C) masterless samurai.

D) actors.

Answer: A Accessibility: Keyboard Navigation 10) Which of the following statements is NOT true about the Toho company's activities in the 1930s?

A) It was vertically integrated.

B) It initially built up attendance at its theaters by using imported films.

C) Its films had a glossy, mass-manufactured look.

D) It cultivated a system in which the director and screenwriter had considerable control over their projects.

Answer: D Accessibility: Keyboard Navigation 11) Which of the following is NOT a stylistic trait commonly found in the 1930s films of director Yasujiro Ozu? A) limited camera movements B) extremely long takes C) violations of the 180-degree rule of continuity D) shots of unobtrusive objects or adjacent landscapes Answer: B Accessibility: Keyboard Navigation 12) The 1930s films of Japanese director Kenji Mizoguchi were typically centered around: A) the travails of salarymen.

B) swordfights and heroic deaths.

C) the influence of Western culture.

D) the social dilemmas facing Japanese women.

Answer: D 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.

13) The final shots of Naniwa Elegy and Sisters of Gion, both directed by Mizoguchi in 1936, present for the first time: A) takes of less than ninety seconds.

B) the films' titles.

C) clear close-ups of the films' protagonists.

D) offscreen sound.

Answer: C Accessibility: Keyboard Navigation 14) Tomotaka Tasaka's Five Scouts is a typical Japanese battle film because it: A) justifies the invasion of Manchuria.

B) does not show the enemy onscreen.

C) contains no spoken dialogue.

D) depicts American soldiers as bloodthirsty savages.

Answer: B Accessibility: Keyboard Navigation 15) Identify an effect of the war in the Pacific on the Japanese film industry.

A) Studios were ordered to stop featuring nationalistic films portraying patriotism.

B) Studios were instructed to feature jazz.

C) American dancing that might undermine respect for authority were banned.

D) American scenes that depicted familial love were censored.

Answer: C Accessibility: Keyboard Navigation 16) Akira Kurosawa's second film, The Most Beautiful, revealed his interest in: A) the psychology of stubborn, almost compulsive dedication to a social ideal.

B) sophisticated comedy, as exemplified by the early sound films of American director Ernst Lubitsch.

C) kinetic action sequences that employed slow motion and elliptical editing.

D) the de-dramatization of intensely emotional material.

Answer: A Accessibility: Keyboard Navigation 17) More Westernized of India's popular film genres of the 1930s was: A) the social film.

B) the devotional film.

C) the mythological film.

D) the stunt film.

Answer: D Accessibility: Keyboard Navigation 4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) India's film industry was damaged in the first years of World War II because of all of the following reasons EXCEPT: A) the lack of films in Hindi, India's principal language.

B) the failure of the largest companies to achieve vertical integration.

C) the use of film projects by black marketers to launder cash.

D) the high cost of using top Indian stars.

Answer: A Accessibility: Keyboard Navigation 19) The influence of right-wing nationalists on the Chinese studio system during the 1930s was most strongly felt in which aspect of the industry?

A) script writing B) exhibition practices C) government censorship D) film festival distribution Answer: C Accessibility: Keyboard Navigation 20) Director Yuan Muzhi's popular, but controversial, 1937 film Street Angels was influenced by the melodramas of which American filmmaker?

A) Frank Borzage B) George Cukor C) William Wyler D) King Vidor Answer: A Accessibility: Keyboard Navigation 21) Britain's Quota Act of 1938 specified that higher-budget films would count double or in some cases triple toward satisfying quota requirements.

Answer: TRUE Accessibility: Keyboard Navigation 22) Because of hardships during wartime and a decrease in British production, weekly film attendance in Britain dropped by 10 million over the course of World War II. Answer: FALSE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) During the 1930s, Japan was virtually the only country in which U.S. films did not overshadow the domestic product.

Answer: TRUE Accessibility: Keyboard Navigation 24) Japanese films of the 1930s experimented with storytelling and technique to a degree not common in most Western sound cinema.

Answer: TRUE Accessibility: Keyboard Navigation 25) Toho favored a producer system, which, like that of Hollywood in the 1930s, placed a producer in charge of several directors at the same time.

Answer: TRUE Accessibility: Keyboard Navigation 26) By the mid-1920s, India was producing over a hundred feature films annually, more than England, France, or the USSR. Answer: TRUE Accessibility: Keyboard Navigation 27) Describe the immediate causes and effects of Britain's Quota Acts of 1927 and 1938. In each case, how did these effects contribute to or hinder the consolidation of the British studio system?

What kinds of films resulted from these acts?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) Compare and contrast popular cinema in Japan during the early and middle 1930s with Japanese cinema during the years of World War II. In what ways were the generic conventions and individual directors' styles developed earlier in the decade applied to the later war films?

How did industry structure change? What was the role of the Japanese government in these changes?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 29) Contrast the personal styles of Yasujiro Ozu and Kenji Mizoguchi as they developed during the 1930s. Identify the formal traits common to their films, and explain how these traits complemented their narratives and their characteristic approaches to storytelling.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

30) Identify the unique problems faced by the studio system in either India or China during the 1930s. How did India's or China's industry develop in this decade, and what kinds of films were popular among domestic audiences?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945 1) Socialist Realist artworks were supposed to be free from: A) attempts at glorifying the Russian rulers of the pre-Soviet era.

B) stories about peasants.

C) color and music.

D) stylistic experiments or formal complexities that would make them hard to understand.

Answer: D Accessibility: Keyboard Navigation 2) Chapayev became one of the most influential films in the history of the Soviet cinema.

Identify a true statement about the film.

A) It followed the trend of "calligraphism."

B) It helped make the biographical film a major genre.

C) It was a romantic comedy built around infectious tunes.

D) It glorified life on collective farms.

Answer: B Accessibility: Keyboard Navigation 3) The film world's most prominent victim of the 1936-1938 purges was the head of Soyuzkino, ________.

A) Dmitri Shostakovich B) Vsevolod Meyerhold C) Lev Kuleshov D) Boris Shumyatsky Answer: D Accessibility: Keyboard Navigation 4) ________, and the fact that most scripts were rejected, slowed output; throughout the 1930s in the Soviet Union, the number of finished films remained far below the total planned.

A) A cumbersome bureaucratic system B) Difficulties with Soviet-made sound systems C) Imprisonment of most of the top Soviet filmmakers D) Stalin's lack of interest in the film industry Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Vladimir Petrov's two-part epic, ________, established some important conventions for the "great leader" films.

A) Suvorov B) Peter the First C) Baltic Deputy D) Chapayev Answer: B Accessibility: Keyboard Navigation 6) Which of the following statements is true about Sergei Eisenstein's Alexander Nevsky?

A) It was a romantic melodrama, set among the rich.

B) It portrayed the story of a "typical," heroic, ordinary individual.

C) It was a major patriotic project.

D) It had an anti-Semitic tone.

Answer: C Accessibility: Keyboard Navigation 7) Mark Donskoy made three films based on Maxim Gorky's memoirs of his early life. The Gorky trilogy stressed the hero's: A) lack of formal education.

B) commitment to Bolshevism.

C) wealth and privileges.

D) knowledge of world literature.

Answer: A Accessibility: Keyboard Navigation 8) The "Fighting Film Albums" ________; hence they often were naïve and unrealistic.

A) was shot and assembled according to Hollywood continuity rules B) was largely supervised by émigré European directors C) avoided direct representation of enemy troops D) was made far from the actual fighting and the occupied areas Answer: D Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) In the second part of Ivan the Terrible, Eisenstein emphasized Ivan's doubts about his ruthless eradication of the nobility in Russia. Stalin and his officials deplored this depiction of Ivan ________.

A) as hesitating in implementing his "progressive" reforms B) because its color film stock proved to be too unstable C) because of its anti-German content D) because its montage sequences were judged to be unsuitable for the peasantry Answer: A Accessibility: Keyboard Navigation 10) Mark Donskoy's The Rainbow (1944) ________.

A) was a romantic comedy built around infectious tunes B) failed to influence filmmakers of the Italian Neorealist movement C) was considered an unusually realistic war film D) glorified life on collective farms Answer: C Accessibility: Keyboard Navigation 11) In the context of pro-Nazi propaganda, anti-Semitism is a minor part of propaganda films such as Hans Westmar and Hitlerjunge Quex, which mainly attack: A) the German Communist party.

B) England and its parliamentary system.

C) racial minorities.

D) Jewish bankers.

Answer: A Accessibility: Keyboard Navigation 12) Made as a record of the 1936 Olympic Games, which were held in Berlin, Leni Riefenstahl's Olympia was financed by the government on a vast scale and the intention was to: A) display Germany's military strength.

B) excuse the Nazis' persecution of Jews.

C) show Germany as a cooperative member of the world community and thus quell fears about Nazi aggression.

D) flatter American athletes and thus receive U.S. distribution.

Answer: C 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.

13) In 1943, ________ was envisioned as a vast historical epic, the German Gone with the Wind.

A) Hans Westmar B) Kolberg C) Triumph of the Will D) Jud Süss Answer: B Accessibility: Keyboard Navigation 14) One of the most unusual films of the Nazi era was Luis Trenker's Der Kaiser von Kalifornien (1936), "The Emperor of California." Identify a true statement about the film.

A) Much of the film was shot on location in the United States.

B) It was filmed as an operetta but was released without musical sequences.

C) It celebrated America's democratic political system and popular culture.

D) It starred Paul Robeson, the celebrated African American actor.

Answer: A Accessibility: Keyboard Navigation 15) In 1932, Benito Mussolini's regime established the ________ Film Festival as an international showcase for the Italian product.

A) Po valley B) Sicily C) Rome D) Venice Answer: D Accessibility: Keyboard Navigation 16) Italy's "Alfieri law" of 1938: A) helped establish a film school, the Centro Sperimentale.

B) nationalized the Italian film industry.

C) gave producers direct aid based on a percentage of ticket sales.

D) helped create a mutual distribution pact with the Soviet Union.

Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which of the following directors made La Signora di tutti ("Everybody's Lady," 1934) that was a mordant critique of the star-making machinery of the publicity industry?

A) Douglas Sirk B) Fritz Lang C) Robert Siodmak D) Max Ophüls Answer: D Accessibility: Keyboard Navigation 18) The postwar Italian Neorealist movement owed a large debt to popular ________.

A) comedy B) romantic melodrama C) film noir D) psychological drama Answer: A Accessibility: Keyboard Navigation 19) In the pages of Bianco e nero, Cinema, and other journals, critics called for directors to: A) make films that couched Fascist ideology in mainstream genres.

B) make films that manipulated temporal and spatial relationships through Montage-style editing.

C) film the problems of ordinary people in actual surroundings.

D) direct films that rejected narrative in favor of abstract experimentation.

Answer: C Accessibility: Keyboard Navigation 20) Which of the following statements is true about Luchino Visconti's film Ossessione?

A) It showed closeness to postwar Neorealism rather than to American film noir.

B) It broached the forbidden subject of adultery.

C) It developed out of popular comedy rather than romantic melodrama.

D) It depicted the glamour of mainstream Italian production.

Answer: B Accessibility: Keyboard Navigation 21) The purpose of centralizing the Soviet film industry under one company was to make it more efficient and to free the USSR from having to import equipment and films.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Prior to World War II, Ivan Pyriev, an important director in the musical comedies, specialized in tractor musicals, which glorified life on collective farms.

Answer: TRUE Accessibility: Keyboard Navigation 23) Despite his hatred of Communism, Nazi Minister of Propaganda, Josef Goebbels, admired Sergei Eisenstein's Potemkin for its powerful propaganda.

Answer: TRUE Accessibility: Keyboard Navigation 24) Hitler's powerful minister of propaganda, Dr. Josef Goebbels, demanded Nazi ideology in every film.

Answer: FALSE Accessibility: Keyboard Navigation 25) In a "cinema of distraction," Italian studios turned out romantic melodramas and sound film quickly brought forth romantic comedies built around infectious tunes.

Answer: TRUE Accessibility: Keyboard Navigation 26) During the late 1930s, anti-Fascist attitudes grew strong among young intellectuals, and this atmosphere fostered a broadening of artistic options.

Answer: TRUE Accessibility: Keyboard Navigation 27) How did the political principles of Soviet communism translate into the aesthetic principles of the Socialist Realist movement? What are the traits of an "ideal" Socialist Realist film? Select two Socialist Realist film genres and explain how the representative films of each of those genres reflect the Socialist Realist cinema.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) How did the outbreak of World War II affect film production in the Soviet Union? Describe how the resulting films fulfilled the requirements of both war propaganda and Socialist Realism.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) Analyze the influence of the Nazis' takeover of the German film industry. How did the process of nationalization proceed, and what kinds of films resulted from its implementation? In what ways did popular German cinema of the 1930s and early 1940s reflect the Nazi ideology?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Describe the ways in which the Italian government involved itself in the Italian cinema during the war and pre-war years. How did this involvement differ from that of the German and the Soviet rulers? What measures did the Italian Fascists take to prop up the film industry? How did producers respond to Luigi Freddi's call for a "cinema of distraction"?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 13 France: Poetic Realism, The Popular Front, and the Occupation, 1930-1945 1) In France during the 1930s, a weak studio system offered filmmakers: A) a large export market.

B) freedom and flexibility.

C) few concerns over censorship.

D) a strong incentive to make popular films.

Answer: B Accessibility: Keyboard Navigation 2) Which of the following 1930s French directors was NOT influenced by Surrealism?

A) Marcel Pagnol B) Jean Vigo C) Pierre Prévert D) René Clair Answer: A Accessibility: Keyboard Navigation 3) Which Jean Vigo film drew on conventions of the city symphony genre of experimental cinema?

A) Taris B) Zero for Conduct C) L'Atalante D) À propos de Nice Answer: D Accessibility: Keyboard Navigation 4) Jacques Feyder's 1935 comedy Carnival in Flanders has been interpreted as ________ at a time when the Fascist threat was growing.

A) encouraging a preemptive invasion of Germany B) promoting communism as a solution to France's political crisis C) favoring collaboration with the enemy D) fanning the flames of anti-Semitism Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) ________, a successful author of sophisticated comic plays and fiction, turned to the cinema —starring in, adapting, and directing several of his own works.

A) Pierre Prévert B) Sacha Guitry C) Max Ophüls D) Marc Allégret Answer: B Accessibility: Keyboard Navigation 6) The Marius trilogy covers about twenty years in the lives of its three central characters.

Although the slow pace derived in part from the stage origins of the films, Marcel Pagnol was also striving to: A) compensate for the rapid-fire quickness of the dialogue.

B) emulate the directors of the early French silent cinema.

C) provide a specific number of close-ups of his leading actors.

D) capture the meanderings and shifts in tone that characterize everyday conversation.

Answer: D Accessibility: Keyboard Navigation 7) Poetic Realism films often centered on: A) characters living on the margins of society.

B) the strained relationships between children and parents or parent figures.

C) notable events in the history of French democracy.

D) escapist fantasy that allegorized political events in contemporary Europe.

Answer: A Accessibility: Keyboard Navigation 8) Which of the following Poetic Realism films did NOT star the French leading man Jean Gabin?

A) Rules of the Game B) Quai des Brumes C) Le Jour se lève D) Pépé le Moko Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The 1931 film La Chienne introduced many elements that would characterize the work of director Jean Renoir EXCEPT ________.

A) scenes staged in depth B) tragic endings C) abrupt switches of tone D) virtuoso camera movements Answer: B Accessibility: Keyboard Navigation 10) In early 1934, the French political scene changed rapidly. In February, rightists protested in the violent Stavisky riots, which brought down the ________.

A) Popular Front B) Radical Socialist government C) French communists D) Fascists Answer: B Accessibility: Keyboard Navigation 11) Jean Renoir used his distinctive technique of deep staging in The Crime of Monsieur Lange to: A) keep all of his actors in crisp focus.

B) convey parallels between the worker Lange and the vulgar capitalist Batala.

C) emphasize the Expressionist distortion of the sets.

D) suggest the unity among the people of the entire building.

Answer: D Accessibility: Keyboard Navigation 12) Which of the following statements is true about Jean Renoir's last film of the decade, The Rules of the Game (1939)?

A) It illustrated the rise of the aristocratic class as opposed to the working class.

B) It was a huge success at the time of its release.

C) In this film, Renoir employed small and simple sets and restrictive camera movement to convey the characters' constant interactions.

D) In this film, Renoir relied on a technique that would become much more common in the 1940s and after: the long take.

Answer: D 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.

13) The French cinema of the 1930s created a high proportion of important films partly because of: A) the lack of haunting music in these films.

B) the significantly large number of scriptwriters in the industry.

C) the massive strength of the production sector.

D) the large number of talented people working in the industry.

Answer: D Accessibility: Keyboard Navigation 14) During late 1940, the Vichy government created the Comité d'Organisation de l'Industrie Cinématographique (COIC) to support and control the film industry. Which of the following statements is true about the French film industry during this period?

A) Producers had to undergo an elaborate application process to get permission to make a film.

B) Directors had to ensure that Jewish actors had an active participation in the film industry.

C) The southern zone had many big studios with impressive sets.

D) Equipment and raw stock were in abundance.

Answer: A Accessibility: Keyboard Navigation 15) There was considerable German investment in France's film industry that came mainly through the formation in 1940 of a Germany company, Continental, in Paris. Identify a true statement about Continental.

A) It aimed at alleviating financial problems by arranging for low-interest government loans for production.

B) It attempted to foster quality production with an annual prize of 100,000 francs for the best films of the year.

C) It was vertically integrated, owning its own studios, laboratories, and the biggest French theater chain.

D) It signed up several major American stars and directors.

Answer: C Accessibility: Keyboard Navigation 16) Most films made during the Occupation period were ________.

A) related to World War II B) comedies and melodramas C) based on domestic social problems D) illustrations of contemporary reality Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) German censorship of French films concentrated on eliminating references to: A) religious figures.

B) Josef Stalin.

C) the United States and Great Britain.

D) modernism.

Answer: C Accessibility: Keyboard Navigation 18) ________, who had been a major figure in the French Impressionist movement of the 1920s, made his most personal film since that time with La Nuit fantastique ("The Fantastic Night," 1942).

A) Jean Grémillon B) René Clair C) Marcel L'Herbier D) Abel Gance Answer: C Accessibility: Keyboard Navigation 19) The most important filmmaker to begin a career during the Occupation period was ________.

A) Marcel Pagnol B) Jean Renoir C) Jean Cocteau D) Robert Bresson Answer: D Accessibility: Keyboard Navigation 20) With tough competition from American films, French production became less profitable during World War II. Answer: FALSE Accessibility: Keyboard Navigation 21) In Le Million, director René Clair substituted music for diegetic sound effects and used extensive camera movement.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Although the French film industry was relatively weak, it had many popular stars and character actors during the 1930s.

Answer: TRUE Accessibility: Keyboard Navigation 23) Even after most multilingual production had been abandoned in favor of dubbing or subtitles, many French films were still reshot in German versions and vice versa.

Answer: TRUE Accessibility: Keyboard Navigation 24) Many of the best-remembered French films of the 1930s belong to a group that has been termed Poetic Realism. This was a unified movement, like French Impressionism or Soviet Montage.

Answer: FALSE Accessibility: Keyboard Navigation 25) Jean Renoir's Grand Illusion, a drama of French prisoners in World War I, suggests that national allegiances are more important than class ties.

Answer: FALSE Accessibility: Keyboard Navigation 26) La Marseillaise is a historical epic depicting the events of the French Revolution surrounding the fall of the monarchy in 1792. Made in support of the Popular Front, the film was to be financed through a subscription system.

Answer: TRUE Accessibility: Keyboard Navigation 27) Movie censorship under the Vichy regime was even harsher than that in the Germancontrolled zone.

Answer: TRUE Accessibility: Keyboard Navigation 28) Two major aesthetic trends within French commercial cinema of the 1930s were Realism (or "everyday Realism") and Poetic Realism. Identify the leading directors in both the trends, and describe how the concerns specific to each trend were reflected in their work.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) Compare and contrast the Poetic Realism films directed by Jean Renoir and those Renoir films that were influenced or financed by the Popular Front. What were the aspects of style that were characteristic of Renoir's filmmaking in the 1930s, and how were these traits employed to complement the aims of both Poetic Realism and Popular Front activism? Were their cases for which Renoir's methods were considered (by audiences or critics) to be inappropriate for his subject matter? Why or why not?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Summarize the historical factors that led to the formation of the French Popular Front and to the Popular Front's involvement in and influence on film production. How were the Popular Front's ideological aims translated into cinematic terms within the movement's representative films? Give examples cited in the textbook (or screened in class).

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Why was France split into two zones during World War II? How did this split affect film production? Identify the major French films of the Occupation period. In what ways were these films political allegories—that is, in what ways did they comment on the current political situation?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 14 Leftist, Documentary, and Experimental Cinemas, 1930-1945 1) In the context of filmmaking in Germany, identify a true statement about Slatan Dudow's Kuhle Wampe (1932).

A) It provoked the spectators to remain emotionally involved with its story.

B) It explored the forbidden subject of adultery.

C) It was produced by a German nonprofit firm, Frontier Films.

D) It was the most prominent German Communist film of the era.

Answer: D Accessibility: Keyboard Navigation 2) During 1935, the New York branch published a short-lived newsletter, Filmfront, that contained translations of essays by leftist theorists and critics, including: A) Sergei Eisenstein.

B) Rudolf Arnheim.

C) Dziga Vertov.

D) Louis Delluc.

Answer: C Accessibility: Keyboard Navigation 3) Leftist cinema declined during the 1940s, in part because: A) government- and corporate-sponsored documentaries were banned.

B) of a sharp decline in the spread of Fascism.

C) official policy under the Nazi regime forbade "decadent" modernist styles in the arts, and most German filmmakers went into exile.

D) of increasing anti-Communist pressures and radical sympathizers' disillusionment after Joseph Stalin's purges and show trials.

Answer: D Accessibility: Keyboard Navigation 4) Bertolt Brecht, the leftist playwright who invented the "epic theater," believed that theater spectators should be distanced from the actions they witnessed: A) so that they could think through the implications of events rather than remaining emotionally involved with the story.

B) so that they would recognize the pro-Nazi messages underlying the story.

C) to raise the spectators' aesthetic appreciation of complex films.

D) so that spectators would realize that scriptwriters rather than directors were the main artists responsible for a film's success.

Answer: A Accessibility: Keyboard Navigation 1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) After the heyday of avant-garde cinema in the 1920s, the 1930s was a period of decline.

Which of the following factors discouraged some filmmakers from experimentation?

A) the increased expense of sound production B) the lack of avant-garde narratives C) the absence of independent animation D) a significant decline in the influence of Surrealism Answer: A Accessibility: Keyboard Navigation 6) ________ began in 1936, when Fascist leader Francisco Franco instigated an insurrection against the elected Republican government.

A) Japan's occupation of Manchuria B) The Spanish Civil War C) The trial of the Scottsboro Nine D) The purging and incarceration of several Soviet directors Answer: B Accessibility: Keyboard Navigation 7) After Franklin Roosevelt's inauguration as President in early 1933, some filmmakers who had started in the early 1930s as members of the leftist Film and Photo Leagues moved into: A) commercial production in Hollywood.

B) experimental cinema.

C) making advertisement films for corporations.

D) government-sponsored documentary filmmaking.

Answer: D Accessibility: Keyboard Navigation 8) President Roosevelt admired The River and made its director, Pare Lorentz, head of the: A) Rural Electrification Agency.

B) U.S. Film Service.

C) Motion Picture Producers and Distributors of America.

D) Tennessee Valley Authority.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Scottish-born John Grierson, who was educated in the United States during the 1920s, was impressed by: A) how powerfully American cinema shaped mass audiences' responses.

B) the centralized efficiency of the studio system in Hollywood cinema.

C) the way Hollywood cinema combined minute details with awesome scope.

D) the accuracy of the working-class milieus in the slapstick comedies of Chaplin and Keaton.

Answer: A Accessibility: Keyboard Navigation 10) Robert Flaherty's Man of Aran premiered in 1934 and did well, both with critics and audiences. Leftists, including some connected with the Film and Photo League, attacked it for: A) acknowledging the rise of fascism in Europe without taking a stand against that rise.

B) its long-take, mobile-camera style that clashed with the Soviet Montage aesthetic.

C) failing to deal with the social situation of its subjects—islanders living off the west coast of Ireland.

D) having most of the scenes scripted and planned.

Answer: C Accessibility: Keyboard Navigation 11) In the context of the General Post Office (GPO) Film Unit, which of the following was one of the most popular films in Great Britain and had a poetic voice-over commentary written by W.H. Auden?

A) Night Mail B) Drifters C) Coal Face D) Song of Ceylon Answer: A Accessibility: Keyboard Navigation 12) In 1935, Arthur Elton and Edgar Anstey directed a different kind of sponsored film. The Gas, Light and Coke Company commissioned Housing Problems in hopes of promoting the use of gas heat and light in modern housing, and Elton and Anstey responded by experimenting with: A) a lightweight portable camera.

B) direct recording of sound on location to interview working-class people in their own apartments.

C) actors recreating the activities of real people.

D) stock footage.

Answer: B 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.

13) Emphasis on private sponsorship led to a major shift in the General Post Office (GPO) Film Unit. Stuart Legg and Basil Wright ________.

A) joined the U.S. Film Service B) quit to serve in the Spanish Civil War C) each set up an independent production firm to make films for commercial sponsors D) started working in animation Answer: C Accessibility: Keyboard Navigation 14) Which of the following statements is true of Frank Capra's "Why We Fight" series?

A) They were produced primarily to explain the war effort to American audiences.

B) The films' narrator told the viewer exactly what to think about the images.

C) They explained military strategies through animated maps.

D) They were based primarily on footage captured from German and other enemy sources.

Answer: D Accessibility: Keyboard Navigation 15) Which Hollywood director ran up against censorship problems with his project, Let There Be Light?

A) William Wyler B) John Huston C) John Ford D) Frank Capra Answer: B Accessibility: Keyboard Navigation 16) Along with his close collaborator, editor Stewart McAllister, Jennings devised a style that lyrically evokes the lives of ordinary British citizens. The pair frequently ________, and the counterpoint invites the viewer to see the connections among events.

A) use editing to create graphic matches B) juxtapose documentary footage of actual historical events with commercial Hollywood versions of those same events C) match the sounds of scripted, subjective narration over documentary images of real people D) cut together shots taken in different locales while the sound from one locale continues uninterrupted Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Some of the most significant experimental films of the 1930s employed animation techniques. Unlike live-action fiction filmmaking, animated films ________.

A) were unsuitable as advertising films owing to their style B) required relatively little expenditure for sets and actors C) required a large group of filmmakers to create richly imaginative works D) required less patience as a filmmaker Answer: B Accessibility: Keyboard Navigation 18) Aspiring New York photographer and filmmaker ________ created A Bronx Morning (1931), and won a place at the National Film School in the USSR, where the filmmaker studied with Sergei Eisenstein and assisted him in the abortive Bezhin Meadow project.

A) Jay Leyda B) Herman Weinberg C) Elia Kazan D) Marie Menken Answer: A Accessibility: Keyboard Navigation 19) Self-taught American artist ________, who had begun painting in the early 1930s, completed Rose Hobart in 1936.

A) Oskar Fischinger B) Jean Cocteau C) Joseph Cornell D) Luis Buñuel Answer: C Accessibility: Keyboard Navigation 20) Russian-born Alexandre Alexeïeff and his American partner Claire Parker depended on ________ for a living.

A) military training films B) industrial films C) Socialist Realist films D) advertising films Answer: D Accessibility: Keyboard Navigation 21) Leftist filmmaking began relatively early in Germany, since that country had been the first to import the Soviet films of the 1920s.

Answer: TRUE Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Most of the films produced by leftist film groups during the 1930s were made by members of the working class.

Answer: FALSE Accessibility: Keyboard Navigation 23) In Belgium, Henri Storck's approach to editing was novel, juxtaposing stock footage of government and religious leaders supporting the military with bizarre imagery that created a bitterly ironic comment on warmongering.

Answer: TRUE Accessibility: Keyboard Navigation 24) None of the filmmakers who worked in the Film and Photo Leagues and for the U.S. government were able to find institutional sponsorship to make significant documentaries.

Answer: FALSE Accessibility: Keyboard Navigation 25) In 1935, the International Communist Party changed its policy and started concentrating on class struggle rather than encouraging leftists around the world to oppose the spread of Fascism.

Answer: FALSE Accessibility: Keyboard Navigation 26) Throughout the 1930s, John Grierson and his colleagues faced resistance to commercial screenings of their films, and Grierson increasingly stressed distribution of 16mm prints to schools and educational groups.

Answer: TRUE Accessibility: Keyboard Navigation 27) For the fire scenes in Humphrey Jennings's feature documentary, Fires Were Started, several bombed-out buildings were set ablaze so that Jennings could set up careful compositions and get enough footage to edit scenes in the style of a fiction film.

Answer: TRUE Accessibility: Keyboard Navigation 28) The beginning of World War II caused a sharp rise in socialist filmmaking activity in Great Britain.

Answer: FALSE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) The first color film made in Europe was a three-minute short made for an ad agency by filmmaker Oskar Fischinger.

Answer: TRUE Accessibility: Keyboard Navigation 30) Compare and contrast the evolution of leftist cinema in the United States and in Great Britain throughout the 1930s. What social and/or political conditions were being faced by the filmmakers in both countries? How were these concerns reflected in their films?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Why were the nonfiction films that were made in Great Britain during the 1930s so crucial to the development of the documentary cinema? Analyze the formation of the film units operating under the Empire Marketing Board and the General Post Office. What sorts of films resulted under these arrangements? How was the British documentary cinema influenced by institutional supports?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Identify and describe the formal strategies used by Humphrey Jennings in his wartime documentary films. In what ways are these films different from U.S. war documentaries with regard to style and intent?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) Identify the directors and the important trends within animation prior to World War II. Why did the animated film reduce the importance of live-action films for experimental filmmakers during the 1930s?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 15 American Cinema in the Postwar Era, 1945-1960 1) On average, every week ________ Americans went to movies in 1946, out of a population of 140 million.

A) 5 to 10 million B) 25 to 30 million C) 50 to 60 million D) 80 to 90 million Answer: D Accessibility: Keyboard Navigation 2) In September, Republican J. Parnell Thomas chaired a House Un-American Activities Committee (HUAC) for hearing that set out to prove that the ________ was dominated by Communists.

A) Hays Office B) Motion Picture Export Association of America C) Screen Writers' Guild D) Music Corporation of America Answer: C Accessibility: Keyboard Navigation 3) After a complex series of decisions, appeals, and legal maneuvers, in 1948 the U.S. Supreme Court declared that eight companies had been guilty of monopolistic practices and the Court ordered the Majors to divest themselves of their: A) theater chains.

B) talent agencies.

C) distribution firms.

D) studio spaces.

Answer: A Accessibility: Keyboard Navigation 4) The Paramount decision's ban on block booking and with access to larger theaters, the small studios could compete better by: A) making bigger-budget films, than before.

B) signing actors and screenwriters blacklisted by the Majors.

C) stepping up overall production.

D) buying first-run theaters.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) When Hollywood was enjoying the high box-office receipts of 1946 and its international market was also expanding, the government, seeing cinema as ________, assisted film export through Commerce Department initiatives and diplomatic pressures.

A) increasingly too complex for American audiences B) serving the purpose of pacifying audiences in unstable regions C) a reward for countries that had backed the U.S. during the war D) propaganda for American democracy Answer: D Accessibility: Keyboard Navigation 6) Protectionist action often strengthened Hollywood's foreign domination. U.S. firms could recover currency earned abroad by: A) investing in foreign films and importing them to America.

B) concentrating on saturating the American market with films.

C) actively recruiting the top creative foreign talent.

D) reducing production budgets and increasing overall output.

Answer: A Accessibility: Keyboard Navigation 7) In 1950, Eastman introduced a monopack (single-strip) color film. Unlike Technicolor, the monopack stock ________.

A) was characterized by rich saturation, transparent shadows, and detailed textures B) tended to keep the images fresh even if the footage was hastily processed C) was based on the elaborate three-strip, dye-transfer process perfected in the 1930s D) was easier to use with the widescreen dimensions of the day Answer: D Accessibility: Keyboard Navigation 8) Cinerama, a three-projector system that created a multipaneled image, premiered in 1952.

Theaters showed the film on three mechanically interlocked projectors, ________.

A) replacing the usual 35mm filmstrip width with 70mm, allowing 5 mm for stereophonic sound tracks B) yielding a sprawling 2.59:1 image on a curved 146-degree screen C) and adopted Cinerama as the industry widescreen standard because it was inexpensive and technically simple D) using 35mm film that ran it horizontally through the camera Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The stereoscopic process used in 1950s in films like Bwana Devil and House of Wax is better known as: A) imbibition.

B) Panavision.

C) "3-D." D) Surround Sound.

Answer: C Accessibility: Keyboard Navigation 10) Cartoons produced by United Productions of America (UPA) ________.

A) focused on situations rather than recurring characters B) revived slash animation techniques C) adapted classic children's stories.

D) placed their recurring characters in distinctive modernistic settings Answer: D Accessibility: Keyboard Navigation 11) Hollywood studios capitalized on the emergence of television in all of the following ways EXCEPT by: A) purchasing the broadcast networks.

B) producing television programs.

C) selling the TV rights to their own libraries.

D) renting out their production facilities for independent filmmaking.

Answer: A Accessibility: Keyboard Navigation 12) ________ films consistently dominated the import market in the postwar period.

A) English B) Greek C) Italian D) Japanese 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.

13) In the context of American cinema, which of the following statements was true about drivein theaters?

A) They restricted parents from bringing their children.

B) They proved successful with their target audiences.

C) They were ideal venues for viewing.

D) They turned out to be extremely expensive for the owners.

Answer: B Accessibility: Keyboard Navigation 14) Which of the following Italian films, which was directed by Roberto Rossellini in 1948 and told the story of a peasant woman who is convinced that her unborn child is the son of God, was denied an exhibition permit by the New York Board of Censors on the grounds that it was blasphemous?

A) The Miracle B) The Bicycle Thief C) Ossessione D) Miracle in Milan Answer: A Accessibility: Keyboard Navigation 15) To set the biggest productions apart, in the 1950s distributors revived a tactic used occasionally for special films since the silent era and known as: A) saturation booking.

B) states' rights.

C) platforming.

D) roadshowing.

Answer: D Accessibility: Keyboard Navigation 16) Which of the following practices was made relatively common by Lew Wasserman, who was a dynamic publicist hired by the Music Corporation of America (MCA) in 1936?

A) taking 15 percent of a client's total earnings B) binding studios to unbreakable long-term contracts with creative talent C) requiring producers to print stars' names above the titles of the films that they appeared in D) stars demanding percentages of their films' grosses or profits Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) "Exploitation films" had existed since World War I, but in the 1950s they gained new prominence. Identify a true statement about these films.

A) They were typically made abroad using cheap, nonunion labor.

B) They supposedly demeaned the talents of the personnel involved in their production.

C) They cashed in on topical or sensational subjects that could be "exploited."

D) Theaters raised ticket prices even though the films were made on average budgets.

Answer: C Accessibility: Keyboard Navigation 18) Which of the following statements is true about American International Pictures (AIP) films?

A) They exploited high schoolers' taste for horror.

B) They were usually shot in a month or more with a senior cast and crew.

C) They rarely worked on shoestring budgets.

D) They lacked efficient marketing techniques.

Answer: A Accessibility: Keyboard Navigation 19) Deep-focus cinematography continued well into the 1960s for black-and-white films, but color films usually cultivated: A) canted compositions.

B) shallow-focus imagery.

C) chiaroscuro lighting extremes.

D) layers of visual clutter.

Answer: B Accessibility: Keyboard Navigation 20) Producer George Pal proved that the atomic age offered a market for ________ movies.

A) horror B) melodramatic C) science-fiction D) espionage Answer: C Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Of the American directors specializing in melodramas, comedies, and musicals, Vincente Minnelli and George Cukor stand out for their shrewd use of: A) low-key lighting.

B) long takes.

C) flashback narratives.

D) documentary techniques.

Answer: B Accessibility: Keyboard Navigation 22) Alfred Hitchcock's plots, whether drawn from novels or his own imagination, hinged on recurring figures and situations that included all of the following EXCEPT: A) the guilty man tormented by the knowledge of his crimes.

B) the amoral yet charming killer.

C) the humdrum locale with tensions seething underneath.

D) the mentally disturbed woman.

Answer: A Accessibility: Keyboard Navigation 23) After the war, Elia Kazan and two New York colleagues founded the Actors Studio. They believed that Russian Konstantin Stanislavsky's Method required actors to: A) adopt the jerky and repetitive movements of a machine.

B) "act" with their voices, rather than their bodies.

C) prepare for roles by subjecting themselves to an intense regimen of physical training.

D) ground their performances in personal experiences.

Answer: D Accessibility: Keyboard Navigation 24) Which of the following postwar American directors enjoyed staging fight scenes that "assaulted" the viewer, in films such as The Crimson Kimono and The Naked Kiss?

A) Robert Aldrich B) Martin Ritt C) Samuel Fuller D) Frank Tashlin Answer: C Accessibility: Keyboard Navigation 25) The 1947 House Un-American Activities Committee (HUAC) hearings found that the subject matter of Hollywood films had been tainted by Communist ideas—hence the emphasis on screenwriters.

Answer: TRUE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

26) With so little competition among distributors, almost all the independent firms had to release their films through the eight established companies following the Paramount decision.

Answer: TRUE Accessibility: Keyboard Navigation 27) Aiming at children and adolescents, Walt Disney moved into live-action features with adventure classics, adaptations of juvenile literature, and fantasy comedies during the 1950s and early 1960s.

Answer: TRUE Accessibility: Keyboard Navigation 28) In the context of exploitation, the major distributors often practiced saturation booking as opposed to independent companies that adhered to the system of releasing films selectively for their first run.

Answer: FALSE Accessibility: Keyboard Navigation 29) In black-and-white dramas, low-key lighting schemes continued well into the 1960s, but films in other genres exploited a brighter, high-key look in American cinema.

Answer: TRUE Accessibility: Keyboard Navigation 30) When making films, Alfred Hitchcock's goal was not mystery or horror but suspense.

Answer: TRUE Accessibility: Keyboard Navigation 31) The long takes of producer-director Otto Preminger were renowned for their expressive effects, such as elaborate camera maneuvers.

Answer: FALSE Accessibility: Keyboard Navigation 32) How did the Paramount decision of 1948 change the U.S. film industry? To what extent did the decision alter the way the industry did business? To what degree were Hollywood business practices unaffected? Explain the causes of the original Justice Department investigation of the studio system, and examine the results of the Supreme Court decision for all three branches of the industry.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

33) How did changes in postwar American lifestyles affect the domestic film market? Amidst a climate of more selective moviegoers, what type of film was likely to attract audiences? How did the Hollywood Majors exploit technological advances to produce this type of film?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 34) Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s. What kinds of films were produced for each of these segments? How did changes in production result in innovations in exhibition, and what were these innovations?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 35) Analyze the increasing importance of independent film production in the U.S. during the 1950s. Describe the strategies employed by either mainstream independents or exploitation producers. What were the marketable aspects of their films? How did their projects originate?

Did directors thrive under this system of production or were they creatively stifled?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 36) What factors lay behind the "upscaling" of Hollywood film genres during the 1950s? Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexities.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 16 Postwar European Cinema: Neorealism and Its Context, 1945-1959 1) Hollywood's strategy in Europe following the end of World War II was to: A) send technicians to learn about European advances in camera technology.

B) rebuild each country's domestic industry in order to resist inroads by Communist film industries.

C) make each country's domestic industry strong enough to support the large-scale distribution of American films.

D) retard the resurgence of domestic film production while flooding foreign markets with American films.

Answer: C Accessibility: Keyboard Navigation 2) West Germany's "economic miracle" of the early 1950s did not help reestablish an internationally competitive German cinema, primarily because: A) Germany was forbidden from exporting motion pictures under the terms of its 1945 surrender.

B) the old Ufi monopoly was revived, and industry growth was stunted by the reintroduction of an inefficient bureaucracy that monopolized film production.

C) the most talented German filmmakers chose to remain in America and England rather than return to their homeland.

D) Hollywood controlled a large part of German distribution and was permitted to use blind- and block-booking tactics already outlawed in the United States.

Answer: D Accessibility: Keyboard Navigation 3) The most popular German film genre following World War II was the Heimat film. It was: A) a biography of statesmen and professionals.

B) a slapstick comedy.

C) a tale of village romance.

D) an allegory of Nazi corruption.

Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

4) Which of the following was NOT an incentive for European producers from different countries to join forces through coproduction?

A) Coproduction was typically immune to state censorship out of deference to differing standards in each partner country.

B) Coproduction allowed producers to mount bigger-budget fare that might compete with Hollywood's.

C) Coproduction allowed a film project to qualify for subsidies from each participating nation.

D) Coproduction gave access to international markets.

Answer: A Accessibility: Keyboard Navigation 5) In the postwar era, the German Arriflex would become the standard nonstudio: A) 35mm camera.

B) stereoscopic process.

C) crab dolly.

D) telephoto lens.

Answer: A Accessibility: Keyboard Navigation 6) The Italian Neorealist filmmakers often used nonactors in lead roles in the manner of: A) German Expressionism.

B) Classical Hollywood filmmaking.

C) French Poetic Realism.

D) Soviet style.

Answer: D Accessibility: Keyboard Navigation 7) Identify a true statement about postwar modernist filmmakers.

A) They avoided representing subjective reality in their films.

B) They sought to be truer to life than they considered most classical filmmakers had been.

C) They refrained from plunging into characters' minds to reveal their dreams and fantasies.

D) They came to rely on short, rather than long, takes.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

8) Objective realism led postwar modernist filmmakers: A) toward flashback construction for exploring recent history in a personal way.

B) to reveal their characters' dreams, hallucinations, and fantasies.

C) to focus on the psychological forces that make an individual act in particular ways.

D) toward episodic, slice-of-life narratives that avoided Hollywood's tight plots.

Answer: D Accessibility: Keyboard Navigation 9) The phrase the "Italian Spring" refers to: A) a post-Neorealist movement of fanciful and imaginative films led by directors like Luchino Visconti and Federico Fellini.

B) Benito Mussolini's plans for the expansion of the Italian film industry.

C) a six-month period in which all revenues generated by imported American films were "frozen" and funneled into Italy's rebuilding effort.

D) the rebirth of Italy based on ideas implemented by a coalition government of left-liberal Italian parties.

Answer: D Accessibility: Keyboard Navigation 10) The Bicycle Thief was directed by: A) Luchino Visconti.

B) Roberto Rossellini.

C) Cesare Zavattini.

D) Vittorio De Sica.

Answer: D Accessibility: Keyboard Navigation 11) Italy's Andreotti law of 1949 effectively created preproduction film censorship by: A) providing loans to production firms that submitted film scripts with an apolitical slant.

B) banning members of the Italian Communist Party from working in communications industries, including the cinema.

C) discouraging domestic theaters from playing films deemed to be critical of government policies.

D) forbidding filmmakers from producing films based on Italy's role in the recent world war.

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.

12) The term "rosy Neorealism" refers to films that melded working-class characters with: A) 1930s-style populist comedy.

B) diva genre.

C) religious spectacle.

D) strongman adventure.

Answer: A Accessibility: Keyboard Navigation 13) Italian Neorealist films were typically edited in a manner based on: A) Eisenstein's theories of intellectual montage.

B) purely rhythmic relations between shots.

C) the norms of classical Hollywood style.

D) alternating graphic matches with graphic contrasts.

Answer: C Accessibility: Keyboard Navigation 14) Identify a true statement about the Andreotti law that went into effect in 1949.

A) It granted export licenses to films even if they slandered Italy.

B) It prohibited preproduction film censorship.

C) It established import limits and screen quotas.

D) It required that two hundred days per year be set aside for Italian films.

Answer: C Accessibility: Keyboard Navigation 15) Identify a feature of Neorealist films.

A) Storytelling lays emphasis on climaxes.

B) Sound is almost invariably postdubbed.

C) They are edited according to the norms of modern Hollywood style.

D) They usually emphasize both important causes as well as the events one sees.

Answer: B Accessibility: Keyboard Navigation 16) Audiences in Europe and America in the 1950s developed a taste for Italy's peplum films, or: A) musclemen sagas.

B) pacifist films.

C) historical musicals.

D) period comedies.

Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which Italian postwar director was known for punctuating his stories, such as Voyage to Italy, with empty intervals of characters simply sitting or walking or thinking?

A) Michelangelo Antonioni B) Luchino Visconti C) Roberto Rossellini D) Federico Fellini Answer: C Accessibility: Keyboard Navigation 18) In many Italian films of the early 1950s, directors used slowly paced tracking shots to: A) draw the viewer's attention to all the planes of an image.

B) reveal characters who were momentarily concealed within a locale.

C) acknowledge the influence of the first Italian superspectacle, Cabiria.

D) explore characters' relations within a concrete environment.

Answer: D Accessibility: Keyboard Navigation 19) Low-budget, realistic films exploring social problems began to appear in Spain in the early 1950s, in part, because: A) its biggest production company had overinvested in high-budget productions and collapsed.

B) of the collapse of Franco's dictatorship and the emergence of a leftist coalition government.

C) of the screening of Hollywood social problem movies of the 1930s at state-run film schools.

D) its most technologically advanced film studios had been damaged or destroyed during the war.

Answer: A Accessibility: Keyboard Navigation 20) As exemplified by Luis Garcia Berlanga's Welcome, Mr. Marshall (1951), la estética franquista ("the Franco aesthetic") in Spanish cinema referred to: A) a Socialist Realist-style treatment of historic national events and figures.

B) a muted affirmation of Fascist principles, expressed through fantasy and allegory.

C) a sardonic or an ironic treatment of apparently safe subjects.

D) an adoption of classical Hollywood techniques and subject matter.

Answer: C Accessibility: Keyboard Navigation 21) By 1952, Europe's most industrially advanced countries were dominated by leftist parties.

Answer: FALSE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Although a few Nazi-era filmmakers were forbidden to work in the postwar German cinema, most were rehabilitated under Allied policy.

Answer: TRUE Accessibility: Keyboard Navigation 23) The Andreotti law required that for each imported film, the distributor had in effect to provide Italian film production an interest-free loan of 2.5 million lire.

Answer: TRUE Accessibility: Keyboard Navigation 24) Postwar European modernist films favored open-ended narratives, in which central plotlines were left unresolved.

Answer: TRUE Accessibility: Keyboard Navigation 25) Since the Italian film industry had long mastered postsynchronization for dubbing foreign movies, crews in Neorealist films could shoot on location and dub in dialogue later.

Answer: TRUE Accessibility: Keyboard Navigation 26) Most interior scenes in prototypical Neorealist films are filmed in carefully lit studio sets.

Answer: TRUE Accessibility: Keyboard Navigation 27) As economic recovery moved Italy to greater prosperity in the late 1940s, Italian audiences became receptive to Neorealism's focus on poverty and suffering.

Answer: FALSE Accessibility: Keyboard Navigation 28) How did European film industries in the post-World War II period attempt to assert their independence and resist U.S. domination? Identify the measures taken by European countries, and evaluate their effectiveness. In what sense were these promotional and protectionist measures beneficial for both Europe and Hollywood?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) What were the three main stylistic and formal features of postwar European modernist films?

Describe how each of these features was employed, in the films screened in class or in the movies cited in the textbook, and explain how these features represented modifications of classical Hollywood storytelling and technique. Why was ambiguity cultivated by modernist filmmakers a central effect of these features?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Chart the evolution of Italian Neorealist cinema from the immediate postwar period (the "Italian Spring") through the period of economic recovery in the early 1950s. What factors led to its rise? Why were these films considered realistic? What led to the demise of Italian Neorealism, and what sorts of films replaced the Neorealist pictures?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) What was distinctive about the formal qualities of Italian Neorealism? Identify and describe the stylistic and narrative traits of the Neorealist cinema. In what sense do these traits deviate from classical norms? Can Neorealism be justifiably called realistic on either stylistic or narrative grounds? Why or why not?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 1) Which of the following was NOT a contributing factor to France's postwar climate of cinéphilie ("love of cinema")?

A) the launching of several film journals B) the mass release of wartime French films previously censored by the German officials C) the arrangement of screenings by the Catholic Church's lay group on public education D) the revival of the ciné-club movement Answer: B Accessibility: Keyboard Navigation 2) One of André Bazin's major contributions to postwar French film theory was a close examination of the cinematic potential of: A) long takes and deep focus.

B) socialist realism.

C) continuity editing.

D) low-key lighting.

Answer: A Accessibility: Keyboard Navigation 3) In France, which of the following happened one year after the Blum-Byrnes accord of 1946 eliminated France's prewar quotas on American films?

A) The numbers of both American imports and French productions increased.

B) The number of American imports increased and the number of French productions decreased.

C) The number of American imports decreased and the number of French productions increased.

D) The numbers of both American imports and French productions decreased.

Answer: B Accessibility: Keyboard Navigation 4) The increased production of short films by new French filmmakers during the early 1950s was motivated by: A) a shortage of the available film stock.

B) a commission from the French government for the cinematic adaptation of short stories by Honoré de Balzac.

C) a new appreciation for the documentary film aesthetic that was articulated in the new French film journals.

D) a provision in the French aid law that encouraged short filmmaking.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) The female characters in the Tradition of Quality films were often: A) treated as mysterious and unattainable.

B) framed in unglamorous close-ups and shot without the aid of filters or diffusion.

C) active protagonists, striving for social justice or remedies for wartime suffering.

D) absent from the story's present, appearing only in flashbacks or in the visions of the male hero.

Answer: A Accessibility: Keyboard Navigation 6) The French Tradition of Quality director Henri-Georges Clouzot was somewhat detached from his contemporaries. He gained international fame by specializing in: A) humorous plots.

B) mordant suspense films.

C) romances with happy endings.

D) loosely scripted romances.

Answer: B Accessibility: Keyboard Navigation 7) Which of the following qualities was NOT typical of the Tradition of Quality films?

A) a polished, studio-bound look B) a reliance on adaptations of literary classics C) an explicit critique of the French society D) a tragic end to romantic affairs Answer: C Accessibility: Keyboard Navigation 8) Which of the following is a characteristic of the four French films directed by Max Ophüls in the 1950s?

A) They were ordinary prestige pictures.

B) They exhibited humble, rather than extravagant, costumes.

C) They featured regional, rather than international, stars.

D) They were set in picturesque locales.

Answer: D Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) The French filmmaker Jean-Pierre Melville gained most fame for such dry, laconic gangster films as Bob le flambeur, Le Doulos, Le Deuxième souffle, and Le Samouraï. These films teem with bravura techniques that involve: A) trolley-mounted camerawork.

B) short takes.

C) available-light shooting.

D) studio shooting.

Answer: C Accessibility: Keyboard Navigation 10) Jean Renoir's French reputation rose partly because of a reevaluation of his work published in the January 1952 issue of: A) Positif.

B) Cahiers du cinema.

C) La Revue du cinema.

D) Sight and Sound.

Answer: B Accessibility: Keyboard Navigation 11) Which French artist and filmmaker was centrally involved with many of the most important avant-garde developments in France after World War I? A) Jean Cocteau B) Jean-Pierre Melville C) Robert Bresson D) Agnès Varda Answer: A Accessibility: Keyboard Navigation 12) Which technique did Jean Cocteau use in his 1950 film Orphée to signify the dead returning to life?

A) superimposition B) reverse motion C) eyeline match D) magnetic sound Answer: B 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.

13) In the context of the postwar French cinema, identify a true statement about the Tradition of Quality.

A) It exhibited humble, rather than extravagant, costumes.

B) It presented romantic plots that always had pleasant endings.

C) Female characters were persistently rebuked and criticized.

D) Performers were drawn from the ranks of top-flight stars.

Answer: D Accessibility: Keyboard Navigation 14) The final four films of Danish filmmaker Carl Theodor Dreyer: A) realize his long-held goal of dealing with Biblical narratives.

B) are largely confined to interior settings and feature lengthy conversations.

C) create fantasy worlds through striking cinematographic means.

D) feature opulent sets and extravagant costumes.

Answer: B Accessibility: Keyboard Navigation 15) Like Victor Sjöström and Mauritz Stiller, most Swedish filmmakers in the post-World War II decade had ties to the rich Swedish tradition of: A) theater.

B) painting.

C) music.

D) literature.

Answer: A Accessibility: Keyboard Navigation 16) The influence of the 1944 Swedish film Torment, scripted by Ingmar Bergman, is, in part, because of a visual style derived from: A) Danish melodrama.

B) abstract animation.

C) German Expressionism.

D) Italian Neorealism.

Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) In August Strindberg's 1888 naturalist play Miss Julie, characters recount their memories in monologues. Alf Sjöberg's 1951 film version visually translates these scenes as: A) texts written in the diary of the protagonist.

B) rapid montage sequences containing flashes of character subjectivity.

C) subtitles that clash with the narrator's onscreen actions.

D) flashbacks that combine past and present in the same shot.

Answer: D Accessibility: Keyboard Navigation 18) The British government decided against forcing the major British film companies to sell off their theaters in the late 1940s because: A) American companies would simply buy them.

B) vertical integration was considered essential to the health of industries.

C) exhibitors agreed to abide by a quota that reserved 75 percent of all screenings in Britain for British films.

D) a similar government action in the United States had put several of the American Majors out of business.

Answer: A Accessibility: Keyboard Navigation 19) Which British director earned his reputation with two popular Dickens adaptations, Great Expectations (1946) and Oliver Twist (1948)?

A) Carol Reed B) Charles Crichton C) Laurence Olivier D) David Lean Answer: D Accessibility: Keyboard Navigation 20) The humor of the Ealing Studios was typically built on: A) romantic entanglements exemplified by the screwball comedies of the 1930s Hollywood.

B) injecting a single fantastic premise into an ordinary situation.

C) stunts and slapstick routines, often acted by British music hall performers.

D) parodies of popular British genres.

Answer: B Accessibility: Keyboard Navigation 21) After the Liberation in 1944, the centralized production model established by the Nazis was preserved by the French film industry.

Answer: FALSE Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Within the French Tradition of Quality, the scriptwriter was often considered the creative equal or even the superior of the director.

Answer: TRUE Accessibility: Keyboard Navigation 23) In France, the Tradition of Quality aimed to be a prestige cinema.

Answer: TRUE Accessibility: Keyboard Navigation 24) Julien Duvivier, René Clair, Max Ophüls, and Jean Renoir offered a postwar alternative to the Tradition of Quality—that of the veteran director not beholden to screenwriters but to a trusted cadre of assistants and technicians.

Answer: TRUE Accessibility: Keyboard Navigation 25) After World War II, Jean Renoir abandoned deep-space staging and complex camera movements that he had favored in the 1930s. He developed instead a simple, direct, at times theatrical style centered on the performer.

Answer: TRUE Accessibility: Keyboard Navigation 26) In committing himself to a cinema of private vision, Jean Cocteau influenced New Wave directors and the American avant-garde.

Answer: TRUE Accessibility: Keyboard Navigation 27) The National Film Finance Corporation (NFFC) was founded in England for the purpose of loaning money to independent producers.

Answer: TRUE Accessibility: Keyboard Navigation 28) The success of postwar British films abroad depended largely on the same art theaters that showed Italian Neorealist or Scandinavian films.

Answer: TRUE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) Beginning with the Blum-Byrnes accord of 1946, identify and describe the major efforts of the French government to revive the French film production after the Occupation. How successful were these attempts? How did the Tradition of Quality films satisfy the aims of these efforts while at the same time preserving the conventions developed in the cinema of the Occupation period?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau, Jean-Pierre Melville. What were the important or influential qualities of these directors' postwar French films? In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Compare and contrast the post-World War II films of the Michael Powell-Emeric Pressburger team and the comedies produced by Michael Balcon's Ealing Studios. Identify similarities and differences between the two bodies of work. Despite the differences, in what sense are the outputs of both groups characteristic of the British film practice of the 1940s and the 1950s?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 18 Postwar Cinema Beyond the West, 1945-1959 1) In the mid-1950s, sixty percent of the world's feature films were made: A) in Japan.

B) in the United States and Western Europe.

C) in the Soviet bloc.

D) outside Western countries and the Soviet bloc.

Answer: D Accessibility: Keyboard Navigation 2) The films that circulated most widely in the Middle East after World War II were produced in: A) France.

B) Iran.

C) the Soviet Union.

D) Egypt.

Answer: D Accessibility: Keyboard Navigation 3) Which of the following was NOT a reason behind an increase in film production in eastern bloc European nations during the 1950s?

A) more centralized industry controls B) increased export possibilities C) overall growth in economies D) the weakening of ideological controls Answer: A Accessibility: Keyboard Navigation 4) Movietown, a 46-acre complex of studios, sets, and laboratory facilities, was constructed by the Shaw Brothers company in 1961 in: A) India.

B) Czechoslovakia.

C) Hong Kong.

D) South Korea.

Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Daiei, one of Japan's major film companies, entered the international film market during the 1950s by producing: A) costume pictures about Japanese historical subjects.

B) martial arts revenge dramas.

C) films about delinquent youths.

D) anti-war pictures.

Answer: A Accessibility: Keyboard Navigation 6) Teinosuke Kinugasa's Gate of Hell (1954) self-consciously borrowed techniques of: A) classical Hollywood cinema.

B) Japanese scroll painting.

C) Swedish naturalist drama.

D) kabuki and Noh theater.

Answer: B Accessibility: Keyboard Navigation 7) Yasujiro Ozu's postwar films usually center on: A) family crises.

B) historical subjects.

C) women's sufferings.

D) religious intolerance.

Answer: A Accessibility: Keyboard Navigation 8) For filmmakers working in the Soviet bloc countries, the period immediately following World War II was typically one of: A) the liberalization of film content.

B) Western-style modernism.

C) tight political control.

D) continued experimentation with Montage.

Answer: C Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Which of the following changes took place in the USSR film industry because of the "thaw" in the 1950s?

A) Cold war subjects were played down.

B) Biographical pictures became popular.

C) Comedies were banned.

D) Censorship was lifted.

Answer: A Accessibility: Keyboard Navigation 10) Which technique of style or narrative used by director Mikhail Kalatozov in the 1957 film The Cranes Are Flying did NOT represent a departure from the Socialist Realist-influenced Soviet films of the postwar decade?

A) optical subjectivity B) deep-focus compositions C) psychological conflicts D) slow-motion shots Answer: B Accessibility: Keyboard Navigation 11) The film industry of which Soviet bloc country was the most "commercial" in Eastern Europe, able to enter into coproductions with the West, and host runaway productions?

A) Poland B) Hungary C) East Germany D) Yugoslavia Answer: D Accessibility: Keyboard Navigation 12) Wolfgang Staudte's The Murderers Are Among Us, the story of a Nazi sympathizer who prospers after the war, synthesized the styles of which two European movements?

A) Surrealism and Dada B) Italian Neorealism and German Expressionism C) Soviet Montage and German Kammerspiel D) Poetic Realism and Italian Neorealism Answer: B 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.

13) Under the Creative Film Unit system established in 1955, Polish filmmakers could: A) submit scripts to the government and compete for cash awards.

B) study filmmaking and industry practices in the United States.

C) form mutual distribution pacts with Western European nations.

D) join a regional production unit, which would rent studio facilities from the government.

Answer: D Accessibility: Keyboard Navigation 14) Andrzej Wajda's trilogy of films about the non-Communist Polish underground was characterized by: A) a de-dramatized vision of combat.

B) a romantic celebration of doomed heroes.

C) an ironic, demystifying attitude.

D) an unfashionable commitment to Socialist Realist technique.

Answer: B Accessibility: Keyboard Navigation 15) The Chinese "thaw" of 1956 and 1957, during which strict governmental control was relaxed somewhat, led to a revival of production known as: A) the Hundred Flowers movement.

B) the Cultural Revolution.

C) the New Humanism.

D) the Great Leap Forward.

Answer: A Accessibility: Keyboard Navigation 16) As the People's Republic of China became less dependent on Soviet aid during the first half of the 1960s, Chinese directors borrowed extensively from: A) art-cinema modernism.

B) Soviet Montage cinema.

C) indigenous Chinese traditions.

D) the American gangster genre.

Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) The introduction of the Great Leap Forward policy in the Chinese film industry led to: A) new emphasis on ethnic diversity.

B) the establishment of national, rather than regional, production centers.

C) realistic goals for the number of movies to be produced.

D) the frequent production of high-budget films.

Answer: A Accessibility: Keyboard Navigation 18) After World War II, Indian film producers often financed their projects with advances from: A) film export profits.

B) the government.

C) banks.

D) distributors and exhibitors.

Answer: D Accessibility: Keyboard Navigation 19) Which of the four leading Indian film genres of the 1930s sustained its popularity in the postwar period?

A) the devotionals B) the socials C) the mythologicals D) the historicals Answer: B Accessibility: Keyboard Navigation 20) Which of the following encouraged standardized filmmaking in India after World War II? A) a strict censorship B) the presence of rigid government regulation and laws C) an independent film market D) the historicals becoming more popular than the socials Answer: A Accessibility: Keyboard Navigation 21) During World War II, the policy of the United States, along with tactical errors by Argentine producers, enabled which country to become the production center of Latin America?

A) Brazil B) Chile C) Mexico D) El Salvador Answer: C Accessibility: Keyboard Navigation 5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) Identify a true statement about the Mexican popular cinema after World War II. A) The United States was second to it in the Spanish-speaking Americas.

B) The Mexican government forced the film industry to pay income taxes.

C) It underwent degradation postwar because of U.S. opposition.

D) It was vigorously supported by the Mexican government.

Answer: D Accessibility: Keyboard Navigation 23) Post World War II, the exhibition-controlled market in India discouraged standardized filmmaking.

Answer: FALSE Accessibility: Keyboard Navigation 24) Supreme Commander of the Allied Powers (SCAP) admitted hundreds of American films to Japan following the war, but, despite their popularity, the domestic industry kept firm control of the market.

Answer: TRUE Accessibility: Keyboard Navigation 25) Unlike other famous proponents of the long take, Kenji Mizoguchi often used little or no camera movement during these shots.

Answer: TRUE Accessibility: Keyboard Navigation 26) Although watched over carefully by their respective Soviet-supported governments, the film industries in the Soviet bloc countries were not nationalized following the war.

Answer: FALSE Accessibility: Keyboard Navigation 27) Many postwar Chinese films resemble Hollywood movies in their use of lush symphonic scores, skillful editing, and careful script constructions.

Answer: TRUE Accessibility: Keyboard Navigation 28) After World War II, Supreme Commander of the Allied Powers (SCAP) reestablished the large, family-run conglomerates, known as zaibatsu, in Japan.

Answer: FALSE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) The Mexican director Luis Buñuel created modernist films within mass-entertainment genres.

Answer: TRUE Accessibility: Keyboard Navigation 30) Why did the United States, as represented by SCAP (Supreme Commander of the Allied Powers), take a keen interest in the postwar Japanese film industry? What steps did SCAP take to help rebuild the Japanese studio system? In what ways did SCAP assist as well as hinder the efforts of the major postwar Japanese directors?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) How was the Soviet film industry affected by the postwar "freeze" and subsequent "thaw"?

Compare the films produced in the Soviet Union during the period of "High Stalinism" and the "New Humanist" films of the late 1950s. What were the qualities of postwar Soviet cinema under Socialist Realism, and to what extent were directors able to resist the constraints imposed by Communist leaders?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) In what ways did film production in the Soviet bloc nations adhere to and depart from the Soviet industry structure and the Socialist Realist aesthetic? Specifically, how did "deStalinization" affect film practice? Support your answer with an analysis of the films of Polish director Andrzej Wajda.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) How did the content of the Chinese cinema evolve from the period of the civil war through the early 1960s? Identify the major Chinese film trends of this era, and explain the influence of contemporaneous political doctrines and proclamations on these trends.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 34) What were the essential traits of the postwar Hindi film? Identify its conventions using the films discussed in the textbook as examples. In what ways were these conventions challenged by the work of Guru Dutt and Ritwik Ghatak?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 19 Art Cinema and the Idea of Authorship 1) The Occupation period of the French cinema popularized the notion that the mature sound cinema would be the age of the: A) director.

B) unprofessional actor.

C) scriptwriter.

D) sound editor.

Answer: C Accessibility: Keyboard Navigation 2) According to French filmmaker and theorist Alexandre Astruc, a filmmaker-author uses a camera as a: A) conductor uses a baton.

B) writer uses a pen.

C) painter uses a brush.

D) sculptor uses a model.

Answer: B Accessibility: Keyboard Navigation 3) The French critics' writing in the early issues of Cahiers du cinéma praised those European and American directors who: A) earned final cut privileges.

B) starred in their own films.

C) independently produced and distributed their films.

D) composed or controlled their scripts.

Answer: D Accessibility: Keyboard Navigation 4) Which of the following is American film critic Andrew Sarris's view of filmmaker Luis Buñuel's films?

A) They were deeply moralistic.

B) They displayed rigorous scripting.

C) They were concerned about entertainment.

D) They embodied a mystery's style without style.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which critic found the films of Luis Buñuel to be deeply moralistic?

A) Manny Farber B) André Bazin C) François Truffaut D) Andrew Sarris Answer: B Accessibility: Keyboard Navigation 6) Director Luis Buñuel's plots depend particularly on: A) an episodic, picaresque structure.

B) outrageous delays.

C) an elaborate flashback construction.

D) psychological realism.

Answer: B Accessibility: Keyboard Navigation 7) The major 1950s films of director Ingmar Bergman tend to reflect upon the relation between: A) God and humanity.

B) husbands and wives.

C) actions and thoughts.

D) theater and life.

Answer: D Accessibility: Keyboard Navigation 8) Starting with his chamber dramas, such as Brink of Life (1958), Ingmar Bergman shot entire scenes: A) in frontal close-up.

B) without diegetic sound.

C) with a single-light setup.

D) using overhead camera angles.

Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Identify a true statement about director Luis Buñuel's filmmaking style.

A) He preferred to use unrestrained camera movements in the Mexican films.

B) He attacked narrative frustration so that the viewer's attention could be turned to other matters.

C) He used a straightforward style to heighten haunting images that disturb the received notion of religion.

D) He refrained from building his plots on outrageous delays.

Answer: C Accessibility: Keyboard Navigation 10) According to critics, most films directed by Akira Kurosawa feature: A) women driven to suffering in the modern Japanese society.

B) a panoramic survey of the upper classes' alienation from the world they have made.

C) empty moments that invite spectators to see ordinary life as comic.

D) men who curb selfish desires and work for the good of others.

Answer: D Accessibility: Keyboard Navigation 11) Which stylistic technique is NOT a characteristic of Akira Kurosawa's films?

A) a muted, nearly monochromatic, color scheme B) frantically energetic editing C) the use of very long telephoto lenses D) multiple-camera shooting Answer: A Accessibility: Keyboard Navigation 12) Which Federico Fellini film received the Grand Prize at the Cannes Film Festival and its depiction of the orgiastic lifestyles of the idle rich shocked and tantalized audiences around the world?

A) City of Women B) La Dolce Vita C) Juliet of the Spirits D) Satyricon Answer: B 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.

13) Several of Federico Fellini's films since the late 1950s fused autobiography and fantasy with: A) a Neorealist-inspired grittiness.

B) an examination of social history.

C) a critique of European neocolonialism.

D) an affirmation of religious faith.

Answer: B Accessibility: Keyboard Navigation 14) During the first decade of his filmmaking career, Michelangelo Antonioni helped turn Italian Neorealism toward: A) a romanticized portrait of the Italian poor.

B) classical Hollywood-style narration.

C) a severe, antimelodramatic style.

D) the kinetic treatment of spectacular action.

Answer: C Accessibility: Keyboard Navigation 15) Michelangelo Antonioni's early films pioneered the possibility of: A) using sound to guide the spectator's attention from detail to detail within the frame.

B) treating narrative frustration as the basis of cinematic pleasure.

C) using negative footage and freeze frames as signifiers of intense subjective moments.

D) concealing his characters' reactions from the spectator, often by means of setting.

Answer: D Accessibility: Keyboard Navigation 16) After the mid-1960s, director Robert Bresson broke with his previously characteristic themes and subjects and turned to stories about: A) vengeful intrigues around innocent victims.

B) suffering redeemed by religious faith.

C) the secular problems of young people in modern society.

D) the underground French Resistance during World War II. Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which of the following statements is NOT true about the characters in Robert Bresson's films?

A) They are often pushed close to the camera, at times challengingly addressing the viewer.

B) Their bodies are often fragmented in close-ups.

C) They are often filmed from behind.

D) They are preternaturally still and quiet.

Answer: A Accessibility: Keyboard Navigation 18) Which of the following is a characteristic of French filmmaker Jacques Tati's films?

A) They reinforce the fact that eccentrics are unaware of the secret of fun.

B) They emphasize the fact that things always happen for a reason.

C) They are satiric commentaries on the rituals of modern life.

D) They are based on strong plots built out of cause-and-effect chains.

Answer: C Accessibility: Keyboard Navigation 19) For his most ambitious project, Tati constructed an entire false city. This project, a satire of tourism and urban routine, was his 1967 film: A) Parade.

B) Traffic.

C) Mr. Hulot's Holiday.

D) Play Time.

Answer: D Accessibility: Keyboard Navigation 20) During the postwar period, Indian filmmaker Satyajit Ray criticized the contemporary Indian cinema for: A) its exaggerated spectacle and inattention to reality.

B) its reliance on government sources for financial backing.

C) its superficial replication of the Italian Neorealist style.

D) its unmotivated song and dance sequences.

Answer: A Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) What is the most prevalent motif in Ray's Apu trilogy?

A) the river B) the monsoon C) the globe D) the train Answer: D Accessibility: Keyboard Navigation 22) During the 1950s and 1960s, auteurism sensitized film viewers to narrative experiments that expressed a director's vision of life.

Answer: TRUE Accessibility: Keyboard Navigation 23) The ambiguity and reflexivity of Ingmar Bergman's Persona (1966) made it one of the key works of modernist cinema.

Answer: TRUE Accessibility: Keyboard Navigation 24) Ingmar Bergman is famous for basing his films or scenes in his films on events from his childhood and his domestic life.

Answer: TRUE Accessibility: Keyboard Navigation 25) Akira Kurosawa drew many of his stories from Western literature.

Answer: TRUE Accessibility: Keyboard Navigation 26) Federico Fellini's ability to create a personal world on film was central to his fame during the 1950s and 1960s.

Answer: TRUE Accessibility: Keyboard Navigation 27) All four of Michelangelo Antonioni's influential early 1960s films conclude with open endings.

Answer: TRUE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) In director Robert Bresson's films, the characters are typically examined from the inside.

Answer: FALSE Accessibility: Keyboard Navigation 29) Satyajit Ray gained a sense of firm structure from his study of Western cinema and of Western music.

Answer: TRUE Accessibility: Keyboard Navigation 30) When and where did the idea of auteurism emerge? How was the auteur theory modified as it developed in different countries during the postwar era? In what ways did the notion of auteurism help critics explain movies?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) In what ways do the films of Luis Buñuel play upon the conventions of both classical Hollywood cinema and European art cinema? Identify Buñuel's characteristic themes, and cite scenes or moments from his films to explain how he employs style and narration to support these themes.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Pick two of the following directors: Akira Kurosawa, Federico Fellini, Michelangelo Antonioni, Satyajit Ray. For what purposes did these directors use social criticism in their films?

How do these instances of critique mesh with their characteristic themes and concerns?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) Identify and contrast the primary stylistic traits employed in the films of Ingmar Bergman and Robert Bresson. Specifically, what is the role of the actor in their films? How does performance style complement the formal aims of each filmmaker?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 34) What are the unique elements of Jacques Tati's brand of film comedy? Explain how Tati uses visual style and sound to put across these elements. How do the effects of Play Time result from a thwarting of traditional comic conventions?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 20 New Waves and Young Cinemas, 1958-1967 1) Which of the following statements is true of the principal Nouvelle Vague directors?

A) They strongly opposed the auteur policy.

B) They believed that the director should express a personal vision of the world.

C) They failed to establish a rapport with their youthful audience.

D) They held that the director's personal vision should appear only in his or her film's scripts.

Answer: B Accessibility: Keyboard Navigation 2) By the 1970s, fiction filmmakers were shooting shot/reverse-shot exchanges almost entirely: A) in extreme long shots.

B) with long lenses.

C) in muted colors.

D) from low angles.

Answer: B Accessibility: Keyboard Navigation 3) Which directors were fond of chopping off a graceful long take with sudden close-ups?

A) Cinema Nôvo directors B) Kitchen Sink cinema directors C) French New Wave directors D) Japanese New Wave directors Answer: C Accessibility: Keyboard Navigation 4) A 1959 French law created the avance sur recettes ("advance on receipts") system, which: A) financed first features on the basis of a script.

B) reestablished a quota system to prop up the French film production.

C) established government subsidies for documentary and short filmmaking.

D) eased censorship for films in order to compete with television.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) French New Wave filmmaker Eric Rohmer was best known for: A) films with abnormal lengths of plots based on intricate, sinister conspiracies.

B) offhand, affectionately parodic treatments of crime stories.

C) wry studies of men and women struggling to balance intelligence with emotional impulses.

D) juxtaposing staged scenes with documentary material, often with little connection to the narrative.

Answer: C Accessibility: Keyboard Navigation 6) Which French New Wave filmmaker is credited with designing shots that seem astonishingly flat?

A) François Truffaut B) Jacques Rivette C) Jacques Demy D) Jean-Luc Godard Answer: D Accessibility: Keyboard Navigation 7) Identify a stylistic resource of new cinemas adopted by Brazil's filmmakers in the 1960s.

A) dolly, rather than zoom, shots B) trolley-mounted, rather than handheld, cameras C) unrestrained dramatic moments D) ambiguous leaps between fantasy and reality Answer: D Accessibility: Keyboard Navigation 8) Identify a true statement about the films directed by French New Wave directors.

A) The films convey that authority should be trusted.

B) The characters' gratuitous actions bear traces of pop existentialism.

C) The plots always center on male chauvinism rather than on a femme fatale.

D) The films portray that romantic commitment is trustworthy.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Which important Italian film of the 1960s used documentary conventions and a complex flashback structure to portray the Algerian war for independence?

A) Battle of Algiers B) The Good, the Bad, and the Ugly C) Before the Revolution D) Il Posto Answer: A Accessibility: Keyboard Navigation 10) Many French New Wave films satisfied producers' financial demands. These films could be made quickly for less than half the usual cost because: A) they were shot in studios.

B) they employed experienced actors.

C) they involved small crews.

D) they were shot with stationary equipment.

Answer: C Accessibility: Keyboard Navigation 11) One of the first British "Kitchen Sink" films was a sober and realistic adaptation of John Osborne's 1956 play: A) Darling.

B) Look Back in Anger.

C) The Loneliness of the Long Distance Runner.

D) Tom Jones.

Answer: B Accessibility: Keyboard Navigation 12) Lewis Gilbert's Alfie borrows which art cinema convention made popular in Tony Richardson's Tom Jones (and seen even earlier in Godard's Breathless)?

A) the unmotivated flashforward B) voice-over narration by a character who dies before the start of the narrative C) the telephoto close-up D) letting the hero share his thoughts with the audience Answer: D 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.

13) A series of low-budget features made in Germany during the 1960s—films that painted a pessimistic picture of life in contemporary Germany—were popularly known as: A) garbage films.

B) street films.

C) backpack films.

D) pink films.

Answer: C Accessibility: Keyboard Navigation 14) Although his film Yesterday Girl resembles a French New Wave picture in many ways, German director Alexander Kluge departed from the French New Wave convention by: A) forgoing jump cuts.

B) shooting in a studio.

C) using a camera tripod throughout.

D) giving his protagonist a historical significance.

Answer: D Accessibility: Keyboard Navigation 15) Which Soviet director specialized in the early 1960s in taking formulaic genres and infusing them with mysteriously poetic imageries?

A) Mikhail Romm B) Andrei Tarkovsky C) Sergei Bondarchuk D) Boris Pasternak Answer: B Accessibility: Keyboard Navigation 16) Which hugely expensive Sergei Bondarchuk's films of the 1960s was made the official emblem of Soviet film?

A) Shadows of Forgotten Ancestors B) Andrei Rublev C) Nine Days of One Year D) War and Peace Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Which of the following art-cinema narrative conventions was exemplified by Roman Polanski's Knife in the Water?

A) a jarring shift of tone B) the lack of closure C) telephoto shooting D) jump cutting Answer: B Accessibility: Keyboard Navigation 18) In which Czechoslovakian film does director Vera Chytilová intercut the lives of two women who never meet?

A) Something Different B) Diamonds of the Night C) Intimate Lighting D) Loves of a Blonde Answer: A Accessibility: Keyboard Navigation 19) Hungarian filmmaker Miklós Jancsó borrowed from Soviet Montage cinema by: A) creating drama out of collective action and historical movements.

B) isolating heroic protagonists in the frame set against the backdrop of the sky.

C) suggesting concepts via the juxtaposition of two unlike images.

D) using temporal expansion to draw out the time an event takes to happen.

Answer: A Accessibility: Keyboard Navigation 20) Many Japanese New Wave directors were able to create independent production companies in the early 1960s, in part, because: A) the Japanese studio system had fragmented during the war, resulting in an unstable industry made up of small, impoverished firms.

B) theaters' habits of showing double features created a larger appetite for releases than the studios could profitably satisfy.

C) the government encouraged new talent through subsidies and prizes.

D) most New Wave films had experienced profitable releases in Western markets.

Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Which Japanese feature of the 1960s was a scathing critique of the Japanese Communist party and the student left and comprised only forty-five shots?

A) Night and Fog in Japan B) Woman in the Dunes C) Pigs and Battleships D) Cruel Story of Youth Answer: A Accessibility: Keyboard Navigation 22) Identify a true statement about the Brazilian artistic trend called "tropicalism."

A) It supported Cinema Nôvo's insistence on the backwardness of rural life.

B) It criticized indigenous popular culture.

C) It treated folk culture as brimming with vitality and wisdom.

D) It was against the tradition of Brazil's "festive left."

Answer: C Accessibility: Keyboard Navigation 23) The Brazilian film trend called "tropicalism": A) condemned Brazil's 1964 military coup.

B) showed Brazilian peasants oppressed by illiteracy and subsistence living.

C) was a comic and grotesque celebration of indigenous popular culture.

D) consisted of erotic comedies.

Answer: C Accessibility: Keyboard Navigation 24) In 1953, the Centre National du Cinéma in France had established the prime de la qualité ("subsidy for quality"), which prohibited new directors from making short films.

Answer: FALSE Accessibility: Keyboard Navigation 25) By 1963, it was as difficult for a young director in France to get started in the film industry as it would have been ten years earlier.

Answer: TRUE Accessibility: Keyboard Navigation 26) Hammer Films, a small independent production company based in Britain, rose to prominence with a series of internationally popular horror films.

Answer: TRUE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

27) The New Wave directors in France often avoided building their plots around digressive episodes.

Answer: FALSE Accessibility: Keyboard Navigation 28) The New Wave did not coalesce into a unified stylistic movement like German Expressionism or Soviet Montage.

Answer: TRUE Accessibility: Keyboard Navigation 29) The Japanese New Wave was one of the few new cinemas deliberately created by a film industry.

Answer: TRUE Accessibility: Keyboard Navigation 30) The young directors of Cinema Nôvo films became a link between the Western new cinemas of the early 1960s and later Third World movements.

Answer: TRUE Accessibility: Keyboard Navigation 31) What kinds of stylistic techniques were favored by the new cinema directors of the 1960s? In what ways did they take advantage of New Cinema technologies? How was their inventiveness also reflected in the narrative design of their films? In other words, how did the new cinema directors modify the 1950s art cinema's presentation of objective and subjective realism and authorial commentary? Use films discussed in the textbook as examples to support your answer.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Compare and contrast the narrative and stylistic practices of French New Wave directors with those of the Left Bank filmmakers. How did each group's concept of cinema affect the films they produced? Identify the significant formal innovations of both groups' films.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

33) Pick two of the following three countries: Italy, Britain, Germany. How do the representative films of these nations' young cinemas of the 1960s relate to prior national filmmaking trends or movements? How do they relate to political or social trends? Explain how the rise and fall of these nations' young cinemas was affected by the evolving policies of their respective industries.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 34) Why were New Wave directors in Eastern Europe freer to try out fresh subjects, themes, and styles than their Soviet counterparts? What political, economic, and cultural conditions led to the rise of new Eastern European movements? How did their films reflect or modify the conventions of western art cinema? Focus your response by drawing on representative New Wave films from two of the following four countries: Poland, Czechoslovakia, Yugoslavia, Hungary.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 35) In what sense did the Japanese New Wave and Cinema Nôvo satisfy attempts by the Japanese and Brazilian governments respectively to revive a national film industry or infuse a national cinema with new life? In what ways did the films of both movements engage in social criticism, and how did these governments respond to this criticism?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 21 Documentary and Experimental Cinema in the Postwar Era, 1945-Mid-1960s 1) Postwar experimental filmmakers, as well as workers in other arts, often adapted the ideas and practices of the avant-gardist composer John Cage by: A) incorporating accidents as part of self-expression.

B) reworking existing, familiar artworks in a more contemporary style.

C) forming art collectives, in which the creation of the artwork is broken into separate tasks and delegated to several collaborators.

D) commenting ironically on the dissemination of American popular culture.

Answer: A Accessibility: Keyboard Navigation 2) The only pioneering documentarist of the prewar period to sustain a comparable level of output and activity in the postwar era was: A) John Grierson.

B) Dziga Vertov.

C) Robert Flaherty.

D) Joris Ivens.

Answer: D Accessibility: Keyboard Navigation 3) Which of the following was NOT a significant postwar documentary film genre?

A) the portrait documentary B) the ethnographic film C) the social observation film D) the compilation documentary Answer: A Accessibility: Keyboard Navigation 4) Several of the directors who broke into filmmaking as part of the Free Cinema documentary movement would later become the core filmmakers of: A) the Czechoslovakian New Wave.

B) Cinema Nôvo.

C) British Kitchen Sink cinema.

D) the Left Bank.

Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) In his celebrated documentary Nuit et brouillard (Night and Fog), Alain Resnais ________.

A) gives a sensationalized image of the destruction caused by the atomic bomb in Hiroshima B) plays up the horror of the holocaust C) plays U.S. military footage of the liberation of the Nazi POW camps D) gives a clipped, unsensationalized image of the Nazi concentration camps Answer: D Accessibility: Keyboard Navigation 6) Which French auteur made the highly reflexive Letter from Siberia and Le Joli mai—satires of, respectively, the travelogue and the cinema vérité documentary?

A) Marguerite Duras B) Georges Franju C) Chris Marker D) Jean-Luc Godard Answer: C Accessibility: Keyboard Navigation 7) Jean Rouch's Les Maîtres fous ("The Mad Masters"), a documentary record of the ceremonies of possession performed by Ghana's Hauka cult, caused a scandal in both Europe and Africa because: A) the ceremonies' participants adopted the identities of the colonialists who rule them.

B) the ceremonies, long abandoned by the Hauka cultists, were meticulously scripted and staged for Rouch's camera.

C) the film draws parallels between the cult's rituals and the employment of African domestics in French colonies.

D) of the frequent onscreen nudity of the Hauka priests.

Answer: A Accessibility: Keyboard Navigation 8) Which of the following was NOT an influence on the emergence of Direct Cinema in the late 1950s and early 1960s?

A) television and its pressing need to fill airtime B) the emergence of optical sound-on-film recording C) the Italian Neorealist aesthetic D) the growth of 16mm production Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Most of the Direct Cinema films produced under the supervision of Robert Drew for ABC in the early 1960s center on: A) the evolution of a political campaign.

B) the power exerted over the lives of individuals by social institutions.

C) sporting competitions and the sacrifices of athletes.

D) a high-stakes situation to be resolved in a few days or hours.

Answer: D Accessibility: Keyboard Navigation 10) What's Happening! The Beatles in New York, directed by David and Albert Maysles, was the first Direct Cinema film in the United States to ________.

A) use computer-generated images B) employ lip-sync sound C) use hidden cameras and telephoto lenses D) omit voice-over narration entirely Answer: D Accessibility: Keyboard Navigation 11) The films of the British Free Cinema movement and the photography of Henri CartierBresson were major influences on: A) the Fluxus movement.

B) Emile De Antonion's compilation documentaries.

C) the Candid Eye directors.

D) the French New Wave.

Answer: C Accessibility: Keyboard Navigation 12) Which of the following is a characteristic of Jean Rouch's Chronique d'un été (Chronicle of a Summer), made in collaboration with sociologist Edgar Morin?

A) It involves Rouch and Morin simply observing or sympathizing with the subjects of the film rather than prodding and provoking.

B) It carries forward the suspenseful drama of the Drew films.

C) It centers on ordinary people explaining their lives, while Morin's insistent questioning makes Direct Cinema a provocative force.

D) It makes use of hidden cameras to record the subjects of the film.

Answer: C 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.

13) Many fiction film directors from the various New Wave and young cinema movements of the 1960s used or borrowed all of the following conventions of Direct Cinema EXCEPT: A) shooting in available light.

B) direct sound recording.

C) footage apparently shot on the fly.

D) the handheld camera.

Answer: B Accessibility: Keyboard Navigation 14) Maya Deren made early, highly influential examples of all of the following types of avantgarde cinema EXCEPT: A) the psychodrama.

B) the trance film.

C) the dance film.

D) the compilation film.

Answer: D Accessibility: Keyboard Navigation 15) The Film-Makers' Cooperative, an experimental cinema distribution company founded in 1962, adopted a policy of accepting: A) all submitted work.

B) films that received festival awards.

C) experimental features.

D) avant-garde shorts by West Coast filmmakers.

Answer: A Accessibility: Keyboard Navigation 16) With his 1960 film Arnulf Rainer, director Peter Kubelka created a film wholly out of: A) leaves and moth wings affixed to a transparent strip of celluloid.

B) patterns of pure white and black frames.

C) primary geometric shapes.

D) footage from a Hollywood film, altered with a hole puncher.

Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) American filmmaker Robert Breer was significant for his experiments in the early 1950s with: A) single-frame filming.

B) the animation of three-dimensional objects.

C) painting directly on the filmstrip.

D) multiple-camera shooting.

Answer: A Accessibility: Keyboard Navigation 18) Which postwar avant-garde film trend had an important precursor in Joseph Cornell's Rose Hobart (1939)?

A) The lyrical film B) The psychodrama C) The abstract film D) The experimental compilation film Answer: D Accessibility: Keyboard Navigation 19) In the elaborate psychodrama Anticipation of the Night, director Stan Brakhage links shots according to: A) texture or color.

B) graphic similarities.

C) false eyeline matches or point-of-view shots.

D) abrupt camera movements.

Answer: A Accessibility: Keyboard Navigation 20) Filmmaker Bruce Conner made Report, ________.

A) a five-part cycle of films that seeks to fuse nature, everyday human life, the necessity of death, and the rhythms of the cosmos B) an avant-garde film that lay claim to the monumentality of a James Joyce novel, Picasso's "Guernica," and modernist works in other arts C) an adaptation of a tale by Nikolay Gogol, which alludes evocatively to the original story rather than presenting it in linear fashion D) a complex meditation on the assassination of John F. Kennedy, using television news material, Academy "countdown" leader, and advertising footage Answer: D Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Which of the following is true about Jack Smith's Flaming Creatures?

A) It is a five-part cycle of films that seeks to fuse nature, everyday human life, the necessity of death, and the rhythms of the cosmos.

B) It could not pass New York City censorship requirements, so it was screened free at the Gramercy Arts Theater.

C) It initiated the cross-media pollination of the art world and postulated an expanded cinema.

D) It included computer-generated films as well as multimedia performances integrating dance, music, and theater.

Answer: B Accessibility: Keyboard Navigation 22) Which of the following is NOT a characteristic of Andy Warhol's sound films?

A) very long takes B) post-synchronized sound C) use of flashes of bright light D) use of narcissistic amateur performers Answer: B Accessibility: Keyboard Navigation 23) During the postwar era, many documentarists and avant-garde artists turned away from political commitment and toward a conception of individual expression.

Answer: TRUE Accessibility: Keyboard Navigation 24) Before the mid-1950s, nearly all professional 16mm cameras were so heavy that steady shots could be obtained only if the camera was anchored to a tripod.

Answer: TRUE Accessibility: Keyboard Navigation 25) Georges Franju achieved his reputation as a documentarist with a series of films on art.

Answer: FALSE Accessibility: Keyboard Navigation 26) Unlike the avant-gardists of the 1920s, experimental filmmakers of the 1960s were more closely tied to the commercial film industry than to the world of the fine arts.

Answer: FALSE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

27) After World War II, several of the newly socialist eastern European countries formed small, state-supported animation units that often allowed filmmakers a considerable degree of creative freedom.

Answer: TRUE Accessibility: Keyboard Navigation 28) The term "expanded cinema" refers to films that presented real objects shot in ways that brought out their abstract qualities.

Answer: FALSE Accessibility: Keyboard Navigation 29) Typically, the only editing found in Andy Warhol's silent films consisted in splicing the camera rolls together.

Answer: TRUE Accessibility: Keyboard Navigation 30) Trace the development of the early documentary film career of Jean Rouch. What were his objectives as an ethnographic filmmaker during the 1950s? What formal techniques did he use to express these objectives? Explain how Rouch modified his ethnographic project in the 1961 film Chronicle of a Summer. In what ways does Chronicle of a Summer pose an alternative to the "uncontrolled" techniques of American "cinema vérité" or Direct Cinema?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) How did Direct Cinema succeed in transforming documentary filmmaking during the late 1950s and early 1960s? Why did American documentary makers adopt this style, and in what ways did this choice influence their films? In what ways were their films also influenced by technological developments?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Compare and contrast two of the most prominent trends in avant-garde filmmaking from the 1940s to the 1960s: the experimental narrative and the lyrical film. How did both trends make use of abstract imagery and structure, and for what purposes? Support your example by drawing on the works of the filmmakers cited in the text, including Maya Deren and Stan Brakhage.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

33) What were the notable (and notorious) qualities that characterized the American underground films of the 1960s? In what ways did the practices of American underground filmmakers reflect contemporaneous trends in both the fine arts and popular culture? How are these dual influences combined and transformed in the cinema of Andy Warhol?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 22 Hollywood's Fall and Rise: 1960-1980 1) Identify a true statement about the 1960s Hollywood.

A) Directors abandoned flashy editing.

B) Film studios affiliated with music companies and fetched profits.

C) Short lenses were used in cinemas for all medium shots and close views.

D) Location filming became nonexistent.

Answer: B Accessibility: Keyboard Navigation 2) 20th Century-Fox was pushed to a loss of over $40 million for the production of which early 1960s blockbuster?

A) Tora! Tora! Tora!

B) Cleopatra C) The Sound of Music D) How the West Was Won Answer: B Accessibility: Keyboard Navigation 3) In the late 1960s and early 1970s, banks forced the beleaguered Majors to do all of the following EXCEPT: A) divest themselves of their distribution companies.

B) partner with other studios in coproductions.

C) trim their number of releases.

D) avoid big-budget productions.

Answer: A Accessibility: Keyboard Navigation 4) The long lens became fashionable in the 1960s in Hollywood; it: A) allowed a major part of scenes to be included in photographs.

B) tended to produce distinct contours.

C) enlarged distance between objects while permitting a great depth of field.

D) tended to flatten a shot's space.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) The 1960s films of Richard Lester, including A Hard Day's Night and Help!, created a vogue for: A) false flashbacks and enigmatic flashforwards.

B) an ironic use of music.

C) wordless montage sequences backed by pop songs.

D) choppy transitions, in which a few frames from the last shot of one scene alternate with a few frames of the first shot of the next.

Answer: C Accessibility: Keyboard Navigation 6) Which American film, directed by Arthur Penn, popularized the use of slow motion to render extreme violence?

A) Straw Dogs B) Alice's Restaurant C) Bonnie and Clyde D) Easy Rider Answer: C Accessibility: Keyboard Navigation 7) In the original Motion Picture Association of America (MPAA) rating system implemented in the mid-1960s, an "M" rating designated: A) recommended for all ages.

B) no one under sixteen admitted.

C) viewers under sixteen to be accompanied by parent or guardian.

D) recommended for viewers over sixteen.

Answer: D Accessibility: Keyboard Navigation 8) The Godfather, a film of the New Hollywood, failed to lead to a renaissance of: A) the horror film.

B) the gangster film.

C) science fiction.

D) stalker-slasher films.

Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Hollywood committed itself to color film production by the late 1960s primarily because: A) television networks demanded color films for broadcast.

B) of the decline of wide-angle, deep focus filming.

C) Eastman discontinued its black-and-white film stock, a long-time industry standard.

D) many veteran directors of the film industry were retiring.

Answer: A Accessibility: Keyboard Navigation 10) What was the brand name of the light-weight, handheld camera introduced at the beginning of the 1970s and used for wide-angle long takes in films like Chinatown (1974)?

A) Louma B) Arriflex C) Steadicam D) Panaflex Answer: D Accessibility: Keyboard Navigation 11) Which of the following is NOT a characteristic style of the 1970s director Robert Altman?

A) multiple-camera shooting B) semi-improvised performances C) a static camera style D) overlapping dialogues Answer: C Accessibility: Keyboard Navigation 12) The visual style developed by director Francis Ford Coppola and cinematographer Gordon Willis for The Godfather emphasized: A) actors moving through rich, often gloomy, interiors.

B) slow, hallucinatory dissolves.

C) flattened compositions with strong horizontals.

D) a constantly panning and zooming camera.

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.

13) In promoting its summer blockbuster film Jaws, Universal followed the lead of exploitation companies like American International Pictures and: A) built word-of-mouth through a staggered, platform release.

B) filled stores with Jaws-related merchandise.

C) premiered a ten-minute segment of the film at the Cannes film festival.

D) saturated television with ads for the film.

Answer: D Accessibility: Keyboard Navigation 14) In the context of the rating system created by the Motion Picture Association of America (MPAA) in the 1960s, which of the following is designated by the letter X? A) recommended for viewers over sixteen B) no one under sixteen admitted C) recommended for all ages D) parents to accompany viewers under sixteen Answer: B Accessibility: Keyboard Navigation 15) What kind of deal paid stars and directors to develop "vanity projects" for studios?

A) a sweetheart deal B) a housekeeping deal C) a development deal D) an overall deal Answer: D Accessibility: Keyboard Navigation 16) United Artists collapsed as a Major in the early 1980s largely because of cost overruns faced by director Michael Cimino for his film: A) Heaven's Gate.

B) Raging Bull.

C) 1941.

D) Superman.

Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Because each 1970s studio could only afford to make two or three big-budget pictures per year, the rest of its annual slate was typically filled out with: A) imported European art films.

B) genre fare revamped for young audiences.

C) Hong Kong martial arts pictures.

D) action films targeted at minority audiences.

Answer: B Accessibility: Keyboard Navigation 18) Director Brian De Palma became famous, or infamous, for his pastiches of the films of which classic Hollywood filmmaker?

A) Orson Welles B) Howard Hawks C) Alfred Hitchcock D) Steven Spielberg Answer: C Accessibility: Keyboard Navigation 19) Identify a characteristic of American filmmaker Martin Scorsese's films.

A) They center on driven, even obsessed, protagonists.

B) They heighten viewers' identification with the actors through objective sound.

C) They reflect his tendency to remain emotionally aloof from his stories or plots.

D) They engage viewers through high-tech special effects.

Answer: A Accessibility: Keyboard Navigation 20) Which of the following was NOT responsible for the rise of opportunities for independent motion picture firms in the 1960s and 1970s?

A) the popularity of midnight movies B) increases in major studio production C) the relaxing of the Production Code D) the rise of the teenage market Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Which 1961 off-Hollywood film, directed by John Cassavetes, ended with the title: "The film you have just seen was an improvisation"?

A) A Woman Under the Influence B) The Cool World C) Pull My Daisy D) Shadows Answer: D Accessibility: Keyboard Navigation 22) In the 1960s, Hollywood directors abandoned fast and flashy editing and adopted the longtake aesthetic of the postwar years.

Answer: FALSE Accessibility: Keyboard Navigation 23) The rating system devised in the late 1960s by the MPAA allowed the film industry to present itself as being sensitive to public concern while giving filmmakers license to treat violence, sexuality, or unorthodox ideas.

Answer: TRUE Accessibility: Keyboard Navigation 24) Most films produced in Hollywood in the 1970s were shot in anamorphic widescreen using either the CinemaScope or the Panavision system.

Answer: FALSE Accessibility: Keyboard Navigation 25) Most of the directors associated with the New Hollywood—the "movie brats"—were in fact in their late thirties and early forties.

Answer: FALSE Accessibility: Keyboard Navigation 26) During the boom of the early and mid-1970s, most top hits were concentrated among three studios. As a result, several major production companies became nearly bankrupt.

Answer: FALSE Accessibility: Keyboard Navigation 27) In making Star Wars, director George Lucas directly modeled his space dogfight scenes on air battle sequences drawn from Hollywood combat pictures.

Answer: TRUE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) At one point in the early 1980s, George Lucas and Steven Spielberg were responsible for the six top-grossing films of the postwar period.

Answer: TRUE Accessibility: Keyboard Navigation 29) Analyze the important social, economic, and industrial factors responsible for the emergence of the New Hollywood in the early 1970s. What were the causes of the industry-wide recession from 1969 to 1970? Which new audiences did the Majors subsequently attempt to target?

Describe the ways in which Hollywood style was modified in order to reach these new audiences. Draw on the films of Richard Lester and Sam Peckinpah to support your answer.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) How did European art cinema conventions influence the filmmakers of the New Hollywood?

In what ways did the narrational and stylistic techniques of art cinema infuse new life into standard Hollywood genres? Support your answer with an examination of the art films of two of the following three American directors: Robert Altman, Woody Allen, Francis Ford Coppola.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) Trace the evolution of the Hollywood studio system's economic recovery in the mid- and late 1970s. What were the important blockbusters of the period? How were these blockbusters created and marketed? What happened to the status of the director as this recovery period continued in the 1980s?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Compare and contrast the approaches of Steven Spielberg and Martin Scorsese to studio filmmaking. In what ways did each director revise genres from the classical Hollywood era?

How did the personal style of each director reflect or deviate from the norms of classical Hollywood filmmaking?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 23 Politically Critical Cinema of the 1960s and 1970s 1) The most politically provocative works of Eastern European and Soviet cinema of the late 1960s and 1970s often: A) asserted the individuality of the artist's imagination.

B) rejected Marxism and extolled Maoist principles.

C) preserved Socialist Realist techniques but rejected narrative as a bourgeois construct.

D) supported the Brezhnev doctrine.

Answer: A Accessibility: Keyboard Navigation 2) The Third World film genre known in African cinema as the "return to the sources": A) examined historical mass struggles against imperialism.

B) drew on folklore, myth, and ritual to reflect critically upon native traditions or contemporary politics.

C) portrayed the experiences of individuals cut off from their roots and reflecting upon their native countries from abroad.

D) reflected upon filmmakers' schooling in Europe or the United States.

Answer: B Accessibility: Keyboard Navigation 3) For both aesthetic and economic reasons, most politicized Latin American directors: A) employed professional actors.

B) shot in studios or their own apartments rather than on location.

C) used a lightweight camera.

D) recorded dialogues simultaneously while shooting films.

Answer: C Accessibility: Keyboard Navigation 4) Identify a true statement about Second Cinema.

A) Unlike First Cinema, it overwhelmed its viewer with spectacle.

B) Unlike Third Cinema, it used film as a weapon for liberation.

C) Unlike First Cinema, it fostered individual expression.

D) Unlike Third Cinema, it made every participant a "film-guerrilla."

Answer: C Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Argentine directors Fernando Solanas and Octavio Getino designed their film The Hour of the Furnaces to be: A) mistaken for a Hollywood-made Latin American musical of the 1940s.

B) exhibited in mainstream Argentine theaters.

C) a scathing critique of the films of the Brazilian Cinema Nôvo movement.

D) interrupted by discussions among the audience.

Answer: D Accessibility: Keyboard Navigation 6) In Fernando Solanas and Octavio Getino's essay "Towards a Third Cinema," Second Cinema is defined as: A) auteur-centered art cinema.

B) a mass movement working on behalf of the oppressed.

C) the activity of film viewers.

D) a spectacle that made each viewer a consumer of bourgeois ideology.

Answer: A Accessibility: Keyboard Navigation 7) Pressurized by the U.S. government, the Motion Picture Export Association of America (MPEAA) companies stopped shipping prints to Chile in the early 1970s because: A) footages from Hollywood films were turning up in anti-U.S. Third World documentaries.

B) Chilean leaders implemented a quota policy that would have reduced American imports by 70 percent.

C) of the election of the Marxist Salvador Allende to the presidency.

D) of Chilean protests against the new licentiousness in American movies.

Answer: C Accessibility: Keyboard Navigation 8) Blood of the Condor, directed by Jorge Sanjinés, played a large role in banning the U.S. Peace Corps from: A) Bolivia.

B) Cuba.

C) Mozambique.

D) Mexico.

Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Identify an outcome of the Great Proletarian Cultural Revolution declared by Mao Zedong in 1966 in China.

A) Foreign films were promoted, and the Chinese film industry was revived.

B) The arts were strictly controlled.

C) The public stopped going to the movies.

D) New Chinese feature films were released between 1966 and 1969.

Answer: B Accessibility: Keyboard Navigation 10) The revolutionary model performance film, a genre developed in China during the Cultural Revolution, was based on stage works that blended all of the following elements EXCEPT: A) direct cinema-style camerawork.

B) somewhat traditional ballet.

C) revolutionary military subjects.

D) modernized Peking opera.

Answer: A Accessibility: Keyboard Navigation 11) Larks on a String was a Czechoslovakian film that was completed in 1969 but denied release and charged with showing "contempt for the working class." This film was directed by Closely Watched Trains auteur: A) Vera Chytilová.

B) Milos Forman.

C) Jiří Menzel.

D) Ivan Passer.

Answer: C Accessibility: Keyboard Navigation 12) The most scandalous black film produced in Yugoslavia during the early 1970s was Dušan Makavejev's sexually explicit: A) Innocence Unprotected.

B) WR: Mysteries of the Organism.

C) Handcuffs.

D) The Master and Margarita.

Answer: B 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.

13) The poetic cinema of Soviet directors Andrei Tarkovsky and Sergei Paradzhanov presented the artist's vision as: A) a metaphor for the elitism of capitalist societies.

B) a link to the Russian people's past struggles against oppression.

C) independent of all needs of the collective.

D) analogous to indigenous folk rituals and myths.

Answer: C Accessibility: Keyboard Navigation 14) One of the main catalysts behind the French social upheavals of 1968 was a wave of protests in February against: A) the acceptance of American entries at the Cannes Film Festival.

B) the exile of several Czech New Wave filmmakers.

C) the purchase of the biggest theater chain in France by 20th Century-Fox. D) the removal of Henri Langlois as curator of the Cinémathèque Française.

Answer: D Accessibility: Keyboard Navigation 15) In general, engaged filmmakers adopted the techniques and forms established in the late 1950s by: A) Michelangelo Antonioni.

B) Direct Cinema documentary.

C) French Left Bank filmmakers.

D) Polish Creative Film Unit directors.

Answer: B Accessibility: Keyboard Navigation 16) In his analytical history of the Vietnam War, In the Year of the Pig, engaged filmmaker Emile De Antonio: A) uses one interview to contradict another.

B) adheres to the continuity rules of classical Hollywood filmmaking.

C) cues spectators what to think about the images through voice-of-God narration.

D) edited footages from Hollywood feature films about the war in Vietnam.

Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Identify a characteristic of the films produced by Jean-Luc Godard and Jean-Pierre Gorin's Dziga-Vertov Group.

A) The films juxtapose Direct Cinema footage with titles and highly stylized tableaux.

B) The films are based on strong plots with coherent narrative.

C) The films use noise to encourage viewers to think critically rather than to assault them.

D) The films are ideal for consumption as engaged documentary.

Answer: A Accessibility: Keyboard Navigation 18) Which political modernist filmmaker became especially drawn to strategies of repetition, replaying actions or episodes from different perspectives and offering none as definitively true or accurate in films like Three Resurrected Drunkards?

A) Pier Paolo Pasolini B) Miklós Jancsó C) Nagisa Oshima D) Vilgot Sjöman Answer: C Accessibility: Keyboard Navigation 19) Chantal Akerman's Jeanne Dielman, 23, Quai du commerce, 1080 Bruxelles is a model of which tendency within political modernism?

A) fantasy and parable B) a stylized presentation of myth and history C) collage construction D) minimalism Answer: D Accessibility: Keyboard Navigation 20) The most famous exponent of the political thriller was: A) Theo Angelopoulos.

B) Costa-Gavras.

C) Bernardo Bertolucci.

D) Lindsay Anderson.

Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) Swiss director Alain Tanner's politicized art films, most notably Jonah, Who Will Be 25 in the Year 2000, explore: A) the revolutionary aspirations of the peasantry and working class.

B) women's relation to social forces, often via stories of mother-daughter relationships.

C) the legacy of World War II-era fascism in contemporary Europe.

D) how the absence of radical change blocked personal relationships.

Answer: D Accessibility: Keyboard Navigation 22) Which 1976 liberal feminist film was designed by director Agnès Varda to reach a wide audience?

A) One Sings, the Other Doesn't B) Far From Vietnam C) The Far Shore D) A Very Curious Girl Answer: A Accessibility: Keyboard Navigation 23) The German directing team of Jean-Marie Straub and Danièle Huillet countered most production practice in fictional films by: A) cutting for purely pictorial effects.

B) presenting films' entire actions in real time.

C) shooting actors from behind.

D) using only direct sound throughout their films.

Answer: D Accessibility: Keyboard Navigation 24) The New German Cinema director Rainer Werner Fassbinder took the Hollywood melodramas of a filmmaker as a model of a socially critical yet emotionally engaging cinema.

Identify this filmmaker.

A) Fritz Lang B) Billy Wilder C) Douglas Sirk D) F. W. Murnau Answer: C Accessibility: Keyboard Navigation 25) The fundamental premise of revolutionary Third World film was that all art, even if it seems to be only entertainment, is deeply political.

Answer: TRUE Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

26) From 1963 to 1980, African films circulated to commercial theaters, so most were seen by the broad population.

Answer: FALSE Accessibility: Keyboard Navigation 27) Cuban political filmmakers succeeded in blending modernist conventions with narrative forms to which mass audiences had become accustomed.

Answer: TRUE Accessibility: Keyboard Navigation 28) By the early 1970s, most of the major countries in Africa had produced at least one featurelength film.

Answer: TRUE Accessibility: Keyboard Navigation 29) Between 1966 and 1969, during a government shutdown of the Chinese film industry, the only films exhibited in China were Soviet and Cuban imports.

Answer: FALSE Accessibility: Keyboard Navigation 30) During the 1970s, engaged filmmakers explored the interview technique and entire films were built around talking heads.

Answer: TRUE Accessibility: Keyboard Navigation 31) From 1966 to 1971, the Cuban directors simply mimicked the European art cinema.

Answer: FALSE Accessibility: Keyboard Navigation 32) In the late 1970s, political modernism survived by moving in the experimental 16mm filmmaking sector.

Answer: TRUE Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

33) Compare the revolutionary cinemas of Cuba and Argentina. Identify important parallels and differences between the filmmaking (and film theory) efforts of Cuban and Argentine directors during the late 1960s and early 1970s. In what ways did these directors blend European artcinema modernism and Third World political content? How did the political situation in each country influence the extent to which they adopted or rejected western or First World conventions?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 34) What factors influenced the development of militant black African cinema in the 1960s and 1970s? What were the major film-producing nations, and what kinds of subjects were addressed in those nations' representative movies? Analyze the effects of contemporary politics on the narrative and stylistic traits of the films of Ousmane Sembene.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 35) How did Eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine, i.e., to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist party? Compare the responses of directors in Czechoslovakia, Yugoslavia, and the Soviet Union to the freeze of the late 1960s and early 1970s. What challenges did they pose to the state, and how did the state respond in turn?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 36) Apart from collage construction and fantasy and parable, what were the two filmmaking trends identified in the textbook as particularly vital in political modernism? Define these trends, and explain the role of film style and content in each trend's most representative films. Support your answer by drawing on the works of three of the following six directors: Jean-Luc Godard, Nagisa Oshima, Pier Paolo Pasolini, Miklós Jancsó, Theo Angelopoulos, Chantal Akerman.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 37) How do the films of Rainer Werner Fassbinder exemplify, as suggested in the textbook, a general trend in contemporary European political cinema? Describe the two phases of his career, and link those phases to the developments in both German cinema and European cinema of the 1970s.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 24 Documentary and Experimental Film Since the Late 1960s 1) Direct Cinema after the mid-1960s found wide audiences in the emerging genre of documentaries about: A) the Holocaust.

B) presidential campaigns.

C) gay and lesbian movements.

D) rock music.

Answer: D Accessibility: Keyboard Navigation 2) Identify a true statement about Structural filmmakers.

A) They made cult films that played campus film societies.

B) They concentrated the spectator's attention on a nonnarrative shape that organized their films.

C) They overlooked the participatory relation existing between viewers and the films that the viewers saw.

D) They focused on shocking subject matter.

Answer: B Accessibility: Keyboard Navigation 3) Frederick Wiseman's 1960s and early 1970s Direct Cinema documentaries are distinguished by their: A) focus on the mundane affairs of social institutions.

B) rejection of continuity editing.

C) concentration on individuals facing crisis situations.

D) emphasis on interpersonal relations.

Answer: A Accessibility: Keyboard Navigation 4) Which of the following Structural techniques continued to stimulate experimental filmmakers in the 1970s and later?

A) the search for minimal conditions of cinema B) short shots C) an emphasis on abrupt or sudden changes D) dynamic shots Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which documentary convention is NOT used in Barbara Kopple's film Harlan County USA? A) interviews B) archival footage C) a crisis structure D) a voice-over commentator Answer: D Accessibility: Keyboard Navigation 6) Which of the following films is an example of a meta-documentary?

A) Not a Love Story B) The Sorrow and the Pity C) Of Great Events and Ordinary People D) Manufacturing Consent Answer: C Accessibility: Keyboard Navigation 7) During Mikhail Gorbachev's rule, several Soviet filmmakers: A) made stinging documentaries about history and contemporary life.

B) unionized into film-producing collectives.

C) emigrated to the United States and made films for Hollywood companies.

D) turned to teaching and participating in avant-garde film production.

Answer: A Accessibility: Keyboard Navigation 8) In comparison with Structural films, underground film ________.

A) engaged spectators in a process of speculating on films' overall patterns B) drew attention to the ways in which a medium transforms the object filmed C) reached a broad public through accessible humor and shock value D) displayed intellectual rigor and affinities with art-world movements Answer: C Accessibility: Keyboard Navigation 9) Typically, the films of Czech animator Jan Švankmajer: A) include events that follow the illogic of dreams.

B) recall the graphic design of Yellow Submarine and 1970s head comix.

C) express feminist concerns through evocative imagery.

D) are virtuosic parodies of early silent animation and the minimal abstract film.

Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

10) Avant-gardist Ernie Gehr created pulsating views down a corridor by alternating shots in which only the focal length of the lens changed in the film: A) (nostalgia).

B) Side/Walk/Shuttle.

C) Disappearing Music for Face.

D) Serene Velocity.

Answer: D Accessibility: Keyboard Navigation 11) "Fluxfilms," film experiments by the loose group of American painters, composers, and performance artists known as Fluxus, pioneered the Structural Film approach by: A) using static cameras and rephotography to evoke emotions recalling the lyrical film.

B) bombarding viewers with flickering colors and subliminal imagery.

C) recording such banal activities as eating and walking.

D) emphasizing shocking subject matters.

Answer: C Accessibility: Keyboard Navigation 12) Which of the following is NOT a Structural Film?

A) Zorns Lemma B) Tribulation 99 C) Print Generation D) Wavelength Answer: B Accessibility: Keyboard Navigation 13) During the 1990s, documentaries became a significant slice of U.S. theatrical releases. This was largely due to: A) the fact that the theatrical market supported documentaries as they did not convey political messages.

B) the rise of American independent cinema.

C) the closing down of American arthouse theaters.

D) the fact that producing or directing them involved the same expenditure as producing fiction films.

Answer: B 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) In which experimental film does Mimi, the protagonist of Puccini's opera La Bohème, investigates her own death?

A) She Had Her Gun All Ready B) Daughter Rite C) Thriller D) Liquid Sky Answer: C Accessibility: Keyboard Navigation 15) In 1974, Punk filmmakers capitalized on the introduction of: A) the Panaflex handheld camera.

B) quartz crystal radio-transmission systems.

C) video portapaks.

D) synchronized-sound super-8mm stock.

Answer: D Accessibility: Keyboard Navigation 16) Identify a characteristic of a meta-documentary.

A) It questions the power of all documentary filmmaking.

B) It seeks to demystify certain forms or production processes.

C) It involves the strategy of making a film about the possibility of making the film originally intended.

D) It explored the idea that any documentary carries a large freight of artifice without using reflexivity.

Answer: B Accessibility: Keyboard Navigation 17) Which of the following statements is true of Direct Cinema?

A) It lost its popularity in the emerging genre of rockumentaries.

B) It claimed to capture reality through manipulation.

C) It became the most powerful force in documentary.

D) It failed to capture the immediate texture of social and political processes.

Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) Which English director, whose first feature was Sebastiane (1976), exerted a strong influence on the New Queer Cinema?

A) Lizzie Borden B) Isaac Julien C) Sally Potter D) Derek Jarman Answer: D Accessibility: Keyboard Navigation 19) Investigative documentaries were always harsh exposés.

Answer: FALSE Accessibility: Keyboard Navigation 20) The first films directed by Frederick Wiseman make use of highly artificial restagings of actual events, thereby exposing the artifice of documentary conventions.

Answer: FALSE Accessibility: Keyboard Navigation 21) From the 1970s onward, documentary films that were released in theaters had to offer something unusual to viewers because of the ubiquity of documentaries on television.

Answer: TRUE Accessibility: Keyboard Navigation 22) If underground filmmakers emphasized shocking subject matter, Structural filmmakers stressed challenging form.

Answer: TRUE Accessibility: Keyboard Navigation 23) British filmmakers drawn to the Structural film idea broke from American avant-gardists by arguing that the Structural trend was fundamentally about human consciousness.

Answer: FALSE Accessibility: Keyboard Navigation 24) Structural film, especially in North America, had been dominated by men, but the reactions to the Structural movement were led by women.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

25) Anthony McCall's Long Film for Ambient Light (1975) was a unique experimental cinema because it consisted of a Manhattan loft lit by a single bulb and filtering diffused light from outdoors.

Answer: TRUE Accessibility: Keyboard Navigation 26) Throughout the 1970s, avant-garde film and video art were exhibited side by side at festivals, and cooperatives typically distributed works in both formats.

Answer: FALSE Accessibility: Keyboard Navigation 27) How did Direct Cinema develop from the late 1960s onward? Define the trend's formal characteristics as exemplified by the films of Frederick Wiseman. In what ways did films made within and outside the Direct Cinema movement modify or even critique the conventions solidified by Wiseman in documentary classics like High School (1968)?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) Since the 1960s, in what ways have documentary films turned a critical eye on documentary tradition itself? Identify and explain the formal strategies commonly pursued by filmmakers who have questioned the authority of documentary films' truth claims. In particular, what qualities distinguished the films of those documentarists who sought only to demystify certain forms or production processes from the films of those who sought to question the power of all documentary filmmaking?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 29) What are the basic differences between underground films and Structural films? What kinds of formal principles are explored in the most representative works of Structural films? How are these principles related to the aesthetic practices in other media?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) What were the ideas and influences behind the emergence of New Narrative and Punk (and Punk-influenced) experimental film trends of the 1970s and 1980s? In what ways did the notable films within each tendency respond to the conventions of Structural films and filmmaking— which Structural film elements were retained and which were challenged? In your answer, focus on the contributions of women avant-garde directors.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 25 New Cinemas and New Developments: Europe and the USSR Since the 1970s 1) The increase in film production in some European countries during the 1970s was largely due to the growing popularity of: A) political thrillers.

B) anarchic comedies.

C) rockumentaries.

D) pornographic films.

Answer: D Accessibility: Keyboard Navigation 2) Which was the first European country to use national television to support filmmaking in a systematic fashion?

A) Italy B) Poland C) West Germany D) Britain Answer: C Accessibility: Keyboard Navigation 3) Identify an effect of the domination of European television by state-owned public agencies up to the mid-1970s.

A) Advertising was banned.

B) Independent television companies were promoted.

C) National culture was never showcased.

D) Funding of feature films was banned.

Answer: A Accessibility: Keyboard Navigation 4) Sociétés pour le financement de l' industrie cinématographique et audiovisuelle (SOFICAs), launched in France, were: A) companies that offered tax-exempt investments to individuals and businesses that bought rights to films' future earnings.

B) programs designed to help develop France's audiovisual industries.

C) privately-owned, local television stations required by law to invest in film production.

D) French-based "classics" divisions of American film companies, set up to finance foreign prestige pictures with an eye on eventual distribution in the United States.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Animator Nick Park's short, Creature Comforts, was: A) a parody of talking-heads documentaries.

B) a send-up of children's programs.

C) a music video for artist Peter Gabriel.

D) the first of the popular Wallace and Gromit series.

Answer: A Accessibility: Keyboard Navigation 6) Which of the following films was NOT an internationally financed coproduction?

A) Toto le héros B) Solaris C) The Last Emperor D) Best Intentions Answer: B Accessibility: Keyboard Navigation 7) Which European director replaced Antonioni and Jancsó in the 1980s as the major representative of the long-take approach to film style?

A) Nanni Moretti B) Krzysztof Kieślowski C) Raul Ruiz D) Theo Angelopoulos Answer: D Accessibility: Keyboard Navigation 8) Which of the following was NOT a factor in driving European producers and directors toward a more accessible, less challenging and disruptive cinema than had been seen during the era of political modernism in the 1970s and 1980s?

A) the retirements or deaths of many of political modernism's foremost proponents B) competition from Hollywood imports C) the conservatism of investors D) the decline of attendance and export markets Answer: A Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Though he first achieved success with the sex farce Women on the Verge of a Nervous Breakdown, Pedro Almodóvar in his later films turned toward: A) socially critical naturalism.

B) prestigious stage adaptations.

C) flamboyant melodramas.

D) action-oriented thrillers.

Answer: C Accessibility: Keyboard Navigation 10) Rainer Werner Fassbinder stepped onto the international stage with ________.

A) ambitious European art films B) experimental and political films C) small-scale independent productions D) big-budget films featuring renowned stars Answer: D Accessibility: Keyboard Navigation 11) Which director was one of a group of women filmmakers who found success in the 1970s with comedies on male-female relations?

A) Jutta Brückner B) Larissa Shepitko C) Lina Wertmuller D) Marguerite Duras Answer: C Accessibility: Keyboard Navigation 12) The films of Spanish director Victor Erice attracted attention for their exploration of: A) homosexual relationships.

B) working-class life in factory towns.

C) the affairs of colonial diplomats and socialites.

D) the fantasy and mystery of childhood.

Answer: D Accessibility: Keyboard Navigation 13) A strategy of storytelling that typifies the ambitious European art film of the 2000s is the: A) neoclassical narrative.

B) serial narrative.

C) episodic narrative.

D) network narrative.

Answer: D 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) The introspective 1970s cinema of German directors Werner Herzog and Wim Wenders was in tune with a "new inwardness" trend, a trend most notably manifested in the period's: A) theater.

B) literature.

C) popular music.

D) graphic design.

Answer: B Accessibility: Keyboard Navigation 15) Werner Herzog recaptured the Expressionist acting style in his film Heart of Glass by: A) costuming the actors in heavy clothing to slow down their movements.

B) directing the actors to fix their bodies in poses that echoed the distorted line of the settings.

C) hypnotizing the cast of the film.

D) using computer-generated images.

Answer: C Accessibility: Keyboard Navigation 16) Which European film trend drew inspiration from Francis Ford Coppola's One from the Heart and Rumble Fish, television commercials, music videos, and fashion photography?

A) The Polish "cinema of moral concern" B) The French "cinéma du look" C) The German "sensibilist" picture D) The Russian "parallel cinema" Answer: B Accessibility: Keyboard Navigation 17) Which of the following is NOT a characteristic of Jean-Luc Godard's 1980s films?

A) classical-style narrative construction B) a lyrical treatment of foliage, water, and sunlight C) the use of available light to create rich shadows D) oblique, close views of the human body Answer: A Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

18) The most energetic Eastern European cinema of the 1970s and 1980s was found in ________.

A) Poland B) Czechoslovakia C) Romania D) Hungary Answer: A Accessibility: Keyboard Navigation 19) Which Eastern European director, inspired by Miklós Jancsó, reinvigorated the tradition of contemplative cinema in films like Satan's Tango and Werckmeister Harmonies?

A) Krzysztof Zanussi B) Alexei German C) Andrzej Wadja D) Béla Tarr Answer: D Accessibility: Keyboard Navigation 20) The stories in Polish director Krzysztof Kieślowski's multi-part The Decalogue are loosely based on: A) the colors of the French national flag.

B) milestone events in the struggle of the Solidarity union against Communist rule.

C) the nations of the European Economic Union.

D) the Ten Commandments.

Answer: D Accessibility: Keyboard Navigation 21) Which of the following was NOT one of the factors harming Eastern European film industries after 1989?

A) a deluge of Hollywood imports B) stringent state censorship C) the rise of home video D) rising ticket prices Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

22) After its restructuring in 1986, the Soviet firm Goskino served principally as: A) a censorship board overseeing the entire Soviet bloc.

B) a television studio.

C) a vertically integrated film company.

D) a source of facilities and funding for independent production units.

Answer: D Accessibility: Keyboard Navigation 23) Identify the true statement about Aleksandr Sokurov, the director of Mother and Son and Russian Ark. A) He relied on tightly choreographed long takes in his films.

B) He became an emblem of the cinema of artistic conscience.

C) He was able to develop his expressionistic side after glasnost.

D) He mixed commercial narrative forms with eroticism and social satire.

Answer: C Accessibility: Keyboard Navigation 24) Just as the Nouvelle Vague and other "new waves" and "young cinemas" had emerged in the 1950s and 1960s, parallel trends surfaced in Germany, the USSR, and elsewhere from the 1970s onward.

Answer: TRUE Accessibility: Keyboard Navigation 25) The French filmmaker Bernard Tavernier evoked the golden years of the postwar French cinema by hiring Jean Aurenche as scenarist.

Answer: TRUE Accessibility: Keyboard Navigation 26) Because of constraints imposed by television and government agencies, women directors were virtually shut out of the New German Cinema.

Answer: FALSE Accessibility: Keyboard Navigation 27) The tendency of European filmmakers toward the "arresting image" dwindled in the 1990s, replaced by more shocking compositions and brutal content.

Answer: FALSE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) Eastern European cinema, crippled by restrictive government policies and actions during the 1970s, flourished during and following the political upheavals of the late 1980s.

Answer: FALSE Accessibility: Keyboard Navigation 29) Of the cinemas of Eastern Europe, Hungarian cinema suffered the least radical changes during the 1990s, partly because of economic reforms implemented in Hungary during the 1970s.

Answer: TRUE Accessibility: Keyboard Navigation 30) American films were popular among the citizens of Russia throughout the 1970s and 1980s.

Answer: TRUE Accessibility: Keyboard Navigation 31) How did European nations sustain film production during and after the recessions and attendance declines of 1970s and 1980s? Focus your answer on two important means of support: television and international financing. How did European nations apply the West German model of television-subsidized film production? At the same time, what steps were taken to increase international coproductions? What sorts of films resulted from both of these types of arrangements?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) Compare and contrast the themes and concerns explored by Marguerite Duras and Margarethe von Trotta in, respectively, India Song (1975) and Sisters, or the Balance of Happiness (1979). In what ways does Duras use the conventions of political modernism to comment on colonialism? In what ways does von Trotta use art cinema strategies to comment on women's familial relationships? How is the use of mirrors crucial to the sensibilities of both directors?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 33) Identify and describe the major sub-trends of the return by European filmmakers since the 1970s to the "arresting image." In what ways did major directors working within this tendency reconcile pictorial beauty with narrative demands? What were the major artistic influences on this renewed attention to the image?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

34) Pick two of the three following countries: Hungary, Poland, Russia. In what ways were these countries' film industries transformed by the decline and collapse of the Soviet bloc in the 1980s and 1990s? Analyze the changing nature of the relationships between governments and industries and their joint attempts to combat the encroachment of Hollywood cinema.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

8 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 26 A Developing World: Continental and Subcontinental Cinemas Since 1970 1) In the 1960s, while filmgoing was in decline in the West, the audience expanded in most other regions, largely because of: A) the region's ability to produce national cinema without government support.

B) successful elimination of video piracy.

C) steady migration from the countryside to the cities.

D) thriving studio systems that prevented independent filmmaking.

Answer: C Accessibility: Keyboard Navigation 2) In the context of African cinema, most African countries did not produce a feature-length film before the mid-1970s because of: A) Africa's poverty.

B) video piracy.

C) a large number of theaters.

D) Africa's huge population.

Answer: A Accessibility: Keyboard Navigation 3) The Francophone North African countries known as the Maghreb were in a better position to develop filmmaking than elsewhere in the region. The most significant film industry in the Maghreb was: A) Morocco's.

B) Algeria's.

C) Tunisia's.

D) Senegal's.

Answer: B Accessibility: Keyboard Navigation 4) In 1977, Ousmane Sembène's ________ had helped initiate a "return to the sources" in African film.

A) Moolaadé B) Ceddo C) Faat Kine D) Black Girl Answer: B Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) In the context of new cinemas and new audiences, small-scale investment led ________ to develop a thriving industry based on low-budget video features.

A) Zaire B) Burkina Faso C) Ivory Coast D) Nigeria Answer: D Accessibility: Keyboard Navigation 6) Which prominent Israeli filmmaker made documentaries and fiction films that commented critically on Israeli history and society with funding from Canal Plus and other foreign sources?

A) Menahem Golan B) Uri Barbash C) Amos Gitai D) Moshe Mizrahi Answer: C Accessibility: Keyboard Navigation 7) After the establishment of Farabi Cinema Foundation in 1983, which of the following films was most likely to attract a large audience in Iran?

A) films focusing on Western influences B) films about children C) films confined largely to political topics D) imported films Answer: B Accessibility: Keyboard Navigation 8) After the release of Kandahar in 2000, renowned Iranian filmmaker Mohsen Makhmalbaf decided to stay in ________ and help in building schools and hospitals.

A) Abu Dhabi B) Egypt C) Afghanistan D) Turkey Answer: C Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) In comparison to its Middle Eastern neighbors, Iran sustained a robust film industry. Which of the following factors led to turning the market over to local releases?

A) the lifting of repressive censorship controls B) the establishment of government subsidies C) a surge in international coproductions D) the government banning imported films Answer: D Accessibility: Keyboard Navigation 10) In the context of South America, which of the following statements is true of Ibermedia that was created in 1997?

A) It prevented coproductions from becoming central to Latin American filmmaking.

B) It aimed at encouraging producers to arrange for joint financing on their own.

C) It aimed to bring films to the international Spanish- and Portuguese-speaking audience.

D) It discouraged the construction of multiplexes to retain America's local flavor.

Answer: C Accessibility: Keyboard Navigation 11) In the context of South America and Brazil, many directors affiliated their works with the Latin American literature of: A) New inwardness.

B) Tropicalism.

C) Magical Realism.

D) Postmodernism.

Answer: C Accessibility: Keyboard Navigation 12) The most widely seen Brazilian film of the 2000s internationally was Fernando Meirelles's ________.

A) Central Station B) Bye Bye Brazil C) City of God D) Dona Flor and Her Two Husbands Answer: C 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.

13) During the regime of dictator Augusto Pinochet, over fifty "Chilean" features were: A) coproduced with Spain.

B) highly successful in export markets, even the United States.

C) stringently Marxist in orientation.

D) made abroad by filmmakers in exile.

Answer: D Accessibility: Keyboard Navigation 14) In Mexico, the liberal government: A) eliminated statutes that prevented top film firms from integrating vertically.

B) lifted the cap on admission prices in theaters.

C) solicited U.S. runaway productions.

D) bought the principal studio facilities and founded several production companies.

Answer: D Accessibility: Keyboard Navigation 15) Mexican production was given a burst of original talent with the emergence of "The Three Amigos," and these directors had known each other from television work. Who among the following was NOT one of them?

A) Carlos Reygadas B) Alfonso Cuarón C) Guillermo Del Toro D) Alejandro González Iňárritu Answer: A Accessibility: Keyboard Navigation 16) The annual International Festival of Latin American Cinema was established in 1979 and has been hosted annually by the city of ________.

A) Buenos Aires B) Havana C) Rio de Janeiro D) Baja Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) Most of the "Parallel Cinema" directors of India specialized in: A) MTV-style cutting and choreography.

B) radical formal innovation and experimentation.

C) spectacular and flamboyant musical numbers.

D) presenting social commentary.

Answer: D Accessibility: Keyboard Navigation 18) A nation with a developed infrastructure was South Africa, but it was largely devoted to servicing foreign companies filming on location.

Answer: TRUE Accessibility: Keyboard Navigation 19) In the Iranian "child quest" film genre, a determined child doggedly overcomes obstacles, to achieve a goal.

Answer: TRUE Accessibility: Keyboard Navigation 20) In the context of African cinema, the production of short films and documentaries was less robust than features because such films were less educational and inappropriate to be shown in schools and villages.

Answer: FALSE Accessibility: Keyboard Navigation 21) In the 1970s, Madras, the southern production center that drew projects from all over India, became the world's most prolific filmmaking city.

Answer: TRUE Accessibility: Keyboard Navigation 22) Pick three of the following four countries: Brazil, Argentina, Mexico, Cuba. How has film production been affected in these countries since the 1970s by political instability? Identify the notable films produced by each country in this period. In what ways do these films balance an appreciation for native cultural and cinematic traditions with a regard for film cultures and industries outside their nations' borders?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) Why did Iranian films, unlike those of Iran's longtime foe Iraq, blossom into a major national cinema during the 1990s? What types of films were made by the new Iranian directors? What steps did the Iranian government take to help sustain its film industry?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 24) What steps have African nations taken since the 1970s to forge national cinemas in spite of impoverished economic conditions? Which countries have succeeded, and for what reasons?

What kinds of African films attracted international attention, and why?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 27 Cinema Rising: Pacific Asia and Oceania Since 1970 1) Which of the following Asian nations did NOT experience the rise of "New Cinemas" in the 1980s?

A) South Korea B) China C) Taiwan D) Hong Kong Answer: A Accessibility: Keyboard Navigation 2) During the late 1970s and early 1980s, the new Australian cinema was largely identified with: A) low-budget exploitation pictures.

B) science-fiction movies.

C) historical films.

D) rock musicals.

Answer: C Accessibility: Keyboard Navigation 3) In 1994, Lee Tamahori's film ________ became the top locally made film at the box office in New Zealand. Its tale of domestic violence in a working-class urban Maori family both reflected local life and had an appeal abroad.

A) An Angel at My Table B) Heavenly Creatures C) The Navigator D) Once Were Warriors Answer: D Accessibility: Keyboard Navigation 4) In 1996, a conservative Liberal-National Party coalition took power in Australia. Identify a development in Australian cinema during this phase.

A) The cinema moved heavily into an international mode, often depending on foreign stars such as Meryl Streep.

B) The success of Babe and Shine (1996) seemed to confirm that local production was prospering.

C) There was a string of triumphs that seemed to revive the golden era of the 1970s and early 1980s.

D) An expensive failure, Gillian Armstrong's Oscar and Lucinda (1997), made high government subsidies seem unjustified.

Answer: D Accessibility: Keyboard Navigation 1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) From the 1980s onward, what sustained the industry in Japan, both at home and abroad, were the cartoons known as anime. Filmmakers exploited all of the following elements EXCEPT: A) computer-generated imagery.

B) rapid editing.

C) complex movement of classic animation.

D) canted angles.

Answer: C Accessibility: Keyboard Navigation 6) The New Zealand Film Commission was established in 1978 to: A) attract a large number of Hollywood productions to shoot and postproduce films in New Zealand.

B) support films at the preproduction stage and to help them find private investment.

C) promote the use of indigenous actors, subjects, and directors in filmmaking.

D) double film attendance in New Zealand through the spread of multiplex theaters.

Answer: B Accessibility: Keyboard Navigation 7) Japanese director Takeshi Kitano, who directed Sonatine, won praise on the international film scene in the 1990s for his: A) subdued dramas about the beauty of everyday life.

B) epic anime features.

C) harsh gangster movies.

D) "J-horror" series.

Answer: C Accessibility: Keyboard Navigation 8) Red Sorghum (1987), the most popular early Fifth Generation work, both in China and abroad, was directed by: A) Chen Kaige.

B) Ann Hui. C) Zhang Yimou.

D) Huang Jianxin.

Answer: C Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Thailand illustrates the problems and prospects of small filmmaking countries. Which of the following factors hit Thailand particularly hard and caused film production to reduce to less than ten films?

A) the Asian financial crisis of 1997 B) the absence of multiplex theaters between 1996 and 2000 C) films being made on 16mm after World War II D) little support for a film culture Answer: A Accessibility: Keyboard Navigation 10) In 1975, of the 4,000 or so feature films made worldwide, about ________ came from the Asian Pacific region.

A) 15 percent B) a fifth C) 65 percent D) a seventh Answer: B Accessibility: Keyboard Navigation 11) ________, a 2004 kickboxing movie, earned nearly $20 million worldwide and became the most widely seen Thai film in history.

A) Ong Bak B) Syndromes and a Century C) Bangkok Dangerous D) Tropical Malady Answer: A Accessibility: Keyboard Navigation 12) In 1986, President Corazon Aquino's government in the Philippines: A) banned western film imports.

B) lifted the film censorship apparatus established by the previous regime.

C) created government subsidies for films on the basis of submitted scripts.

D) passed no measures to protect the film industry.

Answer: D 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.

13) Which of the following directors made the most influential film A Touch of Zen (1970), which was mounted on a scale unprecedented in the wuxia genre?

A) Tsui Hark B) Run Run Shaw C) King Hu D) Raymond Chow Answer: C Accessibility: Keyboard Navigation 14) Who among the following became the biggest star in Asia and executed astonishingly risky stunts while giving himself a screen persona reminiscent of Keaton and Harold Lloyd—the diminutive, never-say-die average man?

A) Bruce Lee B) Chow Yun-fat C) Jackie Chan D) Stephen Chow Answer: C Accessibility: Keyboard Navigation 15) Which of the following statements was true about filmmaking in the Philippines under the rule of Fernando Marcos and his wife Imelda?

A) The rapes, beatings, and other lurid conventions of mainstream genres were framed as part of social criticism.

B) A star system was firmly in place, and many plots were derived from comic books.

C) New laws gave more rights to women than men, and several female directors launched careers.

D) Each film was taxed so severely that it would have to take in three times its budget to break even.

Answer: B Accessibility: Keyboard Navigation 16) Ang Lee, who achieved worldwide popular success in the early 1990s, was born in Taiwan but studied film at: A) Beijing.

B) Moscow.

C) Sydney.

D) New York University.

Answer: D Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) In the mid-2010s, there were few setbacks in the South Korean film industry. After pressure from the U.S. film industry, ________.

A) many of its most successful filmmakers relocated to Hollywood B) the quota system, which demanded that theaters show local films for at least 146 days a year, was cut in half C) studios largely stopped producing blockbusters in favor of low-cost, low-risk art cinema D) high-profile film festivals came to an end Answer: B Accessibility: Keyboard Navigation 18) Japanese films have been distributed in Europe and North America since the 1950s.

Answer: TRUE Accessibility: Keyboard Navigation 19) Filipino producers were early adopters of digital filming, which seemed the salvation of the domestic industry.

Answer: TRUE Accessibility: Keyboard Navigation 20) By the end of the 1980s, Japan became Hollywood's biggest overseas national market with a large population and high admission prices.

Answer: TRUE Accessibility: Keyboard Navigation 21) In Hong Kong, 1990s onward, the most original art movies were made by the former scriptwriter Wong Kar-wai who favored languid scenes and wistful imagery reminiscent of French Impressionist cinema.

Answer: TRUE Accessibility: Keyboard Navigation 22) Like many other young cinemas, the Taiwanese New Wave benefited from a financial crisis, and the film industry welcomed cheap, quickly made films by newcomers.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) What are the ways in which relatively young national cinemas can find success while also forging distinct cultural identities? Analyze the examples of Australia and New Zealand in this regard. What steps were taken by government institutions in each country to cultivate a prestigious industry, and how was this desire balanced by purely economic and industrial considerations?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 24) Analyze the development of the Japanese cinema after the 1960s. To what extent did Japan depend on government assistance for its economic well-being? How capably were local products able to compete with imports? What new trends emerged during this period, and what was their relationship to previous national tendencies or movements?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 25) Compare and contrast two of the three following young cinemas: China's Fifth Generation, the Hong Kong New Wave, the Taiwanese New Wave. What factors enabled the directors working within these movements to break into filmmaking? In what ways did the foremost directors in each country deviate from the narrative and stylistic conventions of earlier trends or of contemporaneous popular genres? What factors contributed to the decline of these young cinemas?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 28 American Cinema and the Entertainment Economy: The 1980s and After 1) After the 1970s, the major Hollywood companies held power primarily by controlling: A) the MPAA. B) distribution.

C) the majority of U.S. theater screens.

D) talent agencies.

Answer: B Accessibility: Keyboard Navigation 2) By 2000, home video was yielding an annual $20 billion worldwide, or: A) one-tenth of the North American box-office income.

B) one-half of the North American box-office income.

C) an amount equivalent to the North American box-office income.

D) three times the North American box-office income.

Answer: D Accessibility: Keyboard Navigation 3) At the start of the 1980s, all the Majors EXCEPT ________ had become wings of diversified conglomerates.

A) DreamWorks SKG B) Warner Bros.

C) 20th Century-Fox D) Universal Answer: C Accessibility: Keyboard Navigation 4) One of the prominent Mini-Majors founded in 1980 by the management team who left United Artists was: A) Orion.

B) Gramercy.

C) Tri-Star.

D) Miramax.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) "Synergy" is defined as: A) the series of "windows" or "platforms" that a film passes through, from theaters to cable to network broadcast.

B) the practice of making movies based on simple but intriguing ideas, which can be summarized in 25 words or less.

C) the process of using CGI technology to desaturate or bleach the colors from a film's image track.

D) the coordination of several compatible business lines to maximize income.

Answer: D Accessibility: Keyboard Navigation 6) In the context of the blockbuster mentality, identify a true statement about prestige pictures.

A) They preferred struggling actors to reduce casting costs.

B) They were often based on literary classics.

C) They promoted upcoming directors.

D) They were mid- or low-budget projects.

Answer: B Accessibility: Keyboard Navigation 7) In the context of the blockbuster mentality, which of the following statements is true of the prime audience of Hollywood at home and abroad?

A) The audience enjoyed fantasy and science fiction, horror, and lowbrow comedy.

B) The audience was usually aged between 30 and 45 years.

C) The audience preferred films featuring young, struggling performers.

D) The audience avoided films displaying computer-generated special effects.

Answer: A Accessibility: Keyboard Navigation 8) A film series with sequels and prequels featuring the same characters and story world is known as ________.

A) a blockbuster B) a franchise C) an ambitious genre film D) a reliable genre film Answer: B Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Which of the following was NOT a significant strategy adopted by the Majors during the 1980s and 1990s for offsetting the costs of making blockbusters?

A) product placement B) runaway production C) international coproductions D) tie-in deals Answer: C Accessibility: Keyboard Navigation 10) In the United States, the market shed nearly 3,000 screens. The crash came in 2000-2001 when: A) many megaplexes were renovated to increase the size of their best auditoriums.

B) several major exhibitors filed for bankruptcy.

C) a significant number of middle-class people migrated from the suburbs to urban areas.

D) reformers and parents' groups convinced many cities to close theaters showing foreign films.

Answer: B Accessibility: Keyboard Navigation 11) In 1982, director Ridley Scott's noir/science-fiction crossover ________ proved to be one of the most influential films of its period and its detailed creation of a rainy, rusty dystopia would become the norm for portrayals of the future.

A) Mad Max B) Blade Runner C) Se7en D) The Fly Answer: B Accessibility: Keyboard Navigation 12) Many Hollywood movies from the 1980s onward present a drama of improvement, in which: A) disillusioned young women reconcile with their estranged mothers.

B) protagonists abandon their goals midway through stories.

C) a determined individual tracks down a kidnap victim who does not want to be rescued.

D) essentially good people correct their faults.

Answer: D 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.

13) Low-key lighting, influenced by film noir and music videos, became common because: A) of the discovery and restoration of a pristine print of the long-lost Citizen Kane.

B) of deteriorating studio spaces and declining budgets for studio filmmaking.

C) sensitive film stocks and highly powerful theater projection lamps could bring out details in shadow areas.

D) of an influx of German émigré cinematographers working in Hollywood.

Answer: C Accessibility: Keyboard Navigation 14) In the context of shot design and editing, identify the style preferred by cinematographers for comedy films.

A) an increased number of shadows and muted, earth-tone color schemes B) a dominance of grays, steely blues, pale browns, and shades of black C) a hazy murk, facilitated by a fad for smoke on the set D) a bright, saturated color scheme reminiscent of comic books and Pop Art Answer: A Accessibility: Keyboard Navigation 15) Usually, female directors in the "New New Hollywood" were restricted to making: A) documentary features.

B) psychological thrillers.

C) melodramas and musicals.

D) romantic comedies and family films.

Answer: D Accessibility: Keyboard Navigation 16) Which of the following directors developed a strong relation with Mini-Major Lionsgate and spoke to the African American community's tastes and pretested material in touring stage shows, thereby experiencing success in initial release of films and on DVD? A) Charles Burnett B) Keenan Ivory Wayans C) Tyler Perry D) Ice Cube Answer: C Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) ________ made films that were flamboyant and jarring; rapidly cut, full of jolting camera movements, they mixed color with black-and-white footage, 35mm with super 8mm, and naturalistic shooting with outrageous special effects.

A) Tim Burton B) Michael Mann C) Oliver Stone D) Robert Zemeckis Answer: C Accessibility: Keyboard Navigation 18) Christopher Nolan was a child of the blockbuster era. His first feature, Following (1998), his breakthrough independent film Memento (2000), and The Prestige (2006), an intricate story of dueling magicians, prove his penchant for: A) film noir and nonlinear narrative.

B) romantic musicals.

C) traditional films of unusual purity.

D) passionate social-problem filmmaking.

Answer: A Accessibility: Keyboard Navigation 19) In the context of indies and the industry, ________, established in 1967, was a premiere distributor of European films and low-budget horror and ________ was founded in 1979 by brothers Bob and Harvey Weinstein.

A) New Line; Fine Line B) Dimension; Castle Rock C) Fox Searchlight; Dimension D) New Line; Miramax Answer: D Accessibility: Keyboard Navigation 20) In 1984, a grainy, bleached-out black-and-white Jim Jarmusch film made for $110,000 became the emblem of a new trend in U.S. filmmaking. Identify the film.

A) Safe B) Stranger than Paradise C) sex, lies, and videotape D) Simple Men Answer: B Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

21) By the early 1980s, the financial success of a film depended not only on its theatrical release but also on the ancillary markets—home video, cable, broadcast TV, and soundtrack CDs and other tie-in merchandising.

Answer: TRUE Accessibility: Keyboard Navigation 22) By the late 1980s, video rentals and sales brought in twice the income yielded by theatrical releases.

Answer: TRUE Accessibility: Keyboard Navigation 23) In the context of the search for synergy, all of Hollywood's major production-distribution companies were absorbed into global media corporations.

Answer: TRUE Accessibility: Keyboard Navigation 24) The average costs of producing, marketing, and distributing a studio film rose to $60 million by 2006.

Answer: FALSE Accessibility: Keyboard Navigation 25) Since blockbusters were expensive, studios were likely to finance some films by selling the foreign or video rights of films in advance.

Answer: TRUE Accessibility: Keyboard Navigation 26) DreamWorks SKG, founded in 1994 by Steven Spielberg, Jeffrey Katzenberg, and David Geffen, established hits in prestigious adult dramas such as Saving Private Ryan and American Beauty.

Answer: TRUE Accessibility: Keyboard Navigation 27) Steven Spielberg and George Lucas were the only directors to make top ten films in each decade from the 1970s to the 2000s.

Answer: TRUE Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

28) In an attempt to woo the teen audience, Michael Mann refused to craft traditional films of unusual purity.

Answer: FALSE Accessibility: Keyboard Navigation 29) How did the advent of home video change the American film industry? Trace the evolution of home video from the 1970s up through 2000. In what ways did the studios—who in 1976 regarded home video as a competitor—exploit these changes to their advantage?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) How did the ideas of "synergy" and "franchises" transform American film industry structure in the 1980s and 1990s? What kinds of films resulted from these ideas, and in what ways did distributors and exhibitors try to profit from such films?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 31) What is "intensified continuity"? In what ways does this system of formal conventions depart from the classical continuity style of Hollywood filmmaking? Specifically, how has video and television presentation influenced editing and cinematographic strategies within mainstream Hollywood cinema during the 1980s, 1990s, and 2000s? Cite examples from the text or from the film screened in class.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 32) What factors enabled independent films to proliferate from the 1980s to the 2000s? Identify the various support systems that emerged to support independent production, and describe the four major trends of independent filmmaking. What was the nature of the relationship between each trend's representative directors and companies and the major Hollywood studios?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 29 Toward a Global Film Culture 1) Although Hollywood produced only a small fraction of the world's feature films by the 1990s, it garnered about ________ of theatrical motion picture revenues.

A) 50 percent B) 60 percent C) 75 percent D) 95 percent Answer: C Accessibility: Keyboard Navigation 2) At the start of the 1990s, the studios and the U.S. independents were pumping out many films but most countries had comparatively few places to show them. Which of the following could have been the natural solution?

A) multiplexing B) block booking C) bind bidding D) franchising Answer: A Accessibility: Keyboard Navigation 3) Identify a true statement about cooperation and cooptation.

A) The blockbuster strategy failed significantly in attracting a worldwide audience.

B) Domestic failures did not do spectacularly in the global market.

C) Hollywood based its big projects on best-selling books that were barely known in other countries.

D) The Disney company taught Hollywood to keep the world market in mind at all times.

Answer: D Accessibility: Keyboard Navigation 4) To maximize their global audience, and to undercut piracy, the Hollywood studios in the 2000s: A) increasingly aimed at day-and-date release, putting the film on offshore screens at the same.

B) began to beam their movies digitally from satellites to theaters worldwide, rather than supply DVD-ROM or celluloid copies.

C) required overseas exhibition sites to strictly monitor their patrons for recording devices.

D) began to release their blockbuster films on DVD a few weeks prior to their theatrical runs.

Answer: A Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) Which of the following statements is true of multiplexing in the 1990s?

A) Cineplexes built according to the American standard offered VIP auditoriums with champagne, hot meals, and waiter service.

B) The new European multiplexes usually provided ample parking and adjacent malls with restaurants, bars, and shops.

C) In India, multiplexes constituted almost half of the screens but they yielded less than twentyfive percent of box-office revenues.

D) After World War II, the German customers were hesitant to pay more than before for a bright, comfortable, modernized venue.

Answer: B Accessibility: Keyboard Navigation 6) Between 1996 and 2000, the European Union shifted the focus of its MEDIA program to all of the following activities EXCEPT: A) training filmmakers.

B) funding productions.

C) expanding distribution.

D) developing projects.

Answer: B Accessibility: Keyboard Navigation 7) In 1988, Kinepolis opened on the outskirts of ________, with 24 screens, an IMAX theater, and 7,400 seats—at that time, the largest movie complex in the world.

A) Bangkok B) Paris C) Brussels D) Sydney Answer: C Accessibility: Keyboard Navigation 8) Ang Lee's Crouching Tiger, Hidden Dragon (2000) was the most financially successful Asian film of its time and won four Academy Awards. Which of the following features of this film defied the early thinking of a truly global film?

A) featuring of major U.S. stars B) use of up-to-date special effects C) avoidance of film festivals D) dialogues in Mandarin Answer: D Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Media giants outside America might buy up distribution outlets and theatre screens, and they could pour billions into Hollywood films. The early thinking was that a truly global film would need to succeed in the United States, and the film would therefore need to: A) be in English.

B) feature stars popular across the entire American continent, not just one or two nations.

C) use a Hollywood-based director.

D) exploit characteristically "European" or "continental" source material.

Answer: A Accessibility: Keyboard Navigation 10) ________, a film of the 1990s, won the Grand Prize at Cannes, and its look was inspired by the loose camerawork in the television series Homicide: Life on the Streets.

A) Four Weddings and a Funeral B) Breaking the Waves C) Latcho Drom D) 1492: Conquest of Paradise Answer: B Accessibility: Keyboard Navigation 11) Danish directors Lars von Trier and Thomas Vinterberg laid down an "indisputable set of rules" for the new avant-garde: a "Vow of Chastity." Which of the following is NOT one of these rules?

A) Films had to be shot on location.

B) Sound had to be recorded directly.

C) Camera had to be handheld.

D) Films had to be shot in black-and-white.

Answer: D Accessibility: Keyboard Navigation 12) The films Hero and House of Flying Daggers were packed with stars from different nations and gained significant exposure in Western countries. These films belonged to the genre of ________.

A) revolutionary model performance films B) mainland costume pictures C) opera films D) films with political messages Answer: B 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.

13) In Germany, Kutlig Ataman's Lola and Billy the Kid (1999) portrays a young German Turk who learns that the brother whom he believed dead is actually a transvestite performing in gay nightclubs. This film best describes: A) sexual rights.

B) folk mythologies.

C) the effects of memory.

D) the experience of migration.

Answer: D Accessibility: Keyboard Navigation 14) Identify a true statement about Berlin's World Cinema Fund that was launched in 2004 with a budget of half a million euros.

A) It essentially focused on funding first-time German projects by filmmakers in exile.

B) It primarily aimed at protecting intellectual property.

C) It aimed to support filmmaking in areas fraught with political or economic crises.

D) It discouraged German producers from getting into the international market.

Answer: C Accessibility: Keyboard Navigation 15) The term "VCD" refers to a(n): A) influential movie and music fanzine of the 1990s.

B) digital movie format using low-level compression.

C) computer-animated video "frame."

D) audience award presented at the Sundance Film Festival.

Answer: B Accessibility: Keyboard Navigation 16) Kung-fu sagas, Bollywood musicals, and Japanese animation have found niches in mainstream youth culture thanks largely to: A) the integration of sequences based on these genres into mainstream Hollywood action movies.

B) the fans who tirelessly circulated video copies in the 1980s and 1990s.

C) exposure and awards at American film festivals.

D) publicity stories planted in western mainstream periodicals by foreign distributors.

Answer: B Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

17) A leaked script of the 2002 remake of ________ led fans to badmouth it, and a test screening for fan gurus received devastating online reviews before its release.

A) Planet of the Apes B) Rollerball C) Jay and Silent Bob Strike Back D) Magnolia Answer: B Accessibility: Keyboard Navigation 18) In 1982, three young boys in Mississippi began creating a shot-by-shot VHS remake of ________. It took them seven years, with the result that the actors grow older or younger from scene to scene.

A) Raiders of the Lost Ark B) Close Encounters of the Third Kind C) Jaws D) 1941 Answer: A Accessibility: Keyboard Navigation 19) Before the 1980s, mergers and acquisitions across national borders were rare.

Answer: TRUE Accessibility: Keyboard Navigation 20) The box-office failure of Jurassic Park in India convinced Hollywood that there was no Indian audience for Hindi-dubbed Hollywood films.

Answer: FALSE Accessibility: Keyboard Navigation 21) In diasporic films, often the second-generation character gains access to his or her roots through direct memory rather than through popular culture.

Answer: FALSE Accessibility: Keyboard Navigation 22) By 1998, Dogme began issuing certificates for projects that adhered to the Vow of Chastity, while directors who strayed from it made public confession on the Dogme website.

Answer: TRUE Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

23) Although China forbade direct investment from Taiwanese businesses, Taiwanese film producers set up companies in Hong Kong to fund Mainland films during the 1990s.

Answer: TRUE Accessibility: Keyboard Navigation 24) By 2008, counting all the local and regional events, the world contained at least 4,000 film festivals. This explosive growth turned the festival scene into a global distribution system, one rivaling Hollywood's in quantity and reach.

Answer: TRUE Accessibility: Keyboard Navigation 25) New Line's The Lord of the Rings trilogy (2001-2003) became a fan fetish as soon as it was announced, and many fans believed that protesting in chatrooms against changes to the original novel encouraged the director to shoot a more faithful version.

Answer: TRUE Accessibility: Keyboard Navigation 26) Comic-Con, which was held every July in San Diego, began as a convention for comic book collectors, and fans perused displays of the latest video games and franchise products and watched previews of films and TV shows.

Answer: TRUE Accessibility: Keyboard Navigation 27) What tactics were employed by the Hollywood Majors during the 1990s and 2000s to capture a major share of international film box office? Use Universal/Steven Spielberg's Jurassic Park and the Disney company as case studies. In what ways did the American film industry directly buy into foreign film markets, and how successful have these attempts been?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 28) In what ways has globalization helped promote stronger ties among industries within geographical regions? What cooperative measures have European companies and directors taken to compete with Hollywood cinema, and how well have they worked? Similarly, to what extent have east Asian regional alliances proven effective in competing in the global marketplace?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

6 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

29) What qualities have enabled the film festival circuit to become perhaps the leading alternative global film distribution system? In what ways do festivals benefit both host communities and countries and noncommercial filmmaking? How do they benefit Hollywood studios?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 30) In what ways have a) home video and b) the Internet changed movie fandom? Trace the evolution of fan communities and their relation to the cinema since the 1980s. How have fans in the last thirty years participated in shaping the discourse about—and even influenced the production of—Hollywood cinema?

Answer: Answer may vary.

Accessibility: Keyboard Navigation

7 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

Film History: An Introduction, 4e (Thompson) Chapter 30 Digital Technology and the Cinema 1) Which of the following terms refers to preparing a simple, digitally animated version of a sequence or film?

A) previsualization B) postproduction C) encryption D) augmentation Answer: A Accessibility: Keyboard Navigation 2) Pioneered on 2001: A Space Odyssey (1968) and other projects, ________ was extensively used in Star Wars IV: A New Hope (1977).

A) a digital audio tape B) 3D computer graphics imaging C) motion control D) motion blurring Answer: C Accessibility: Keyboard Navigation 3) During the 1990s and early 2000s, standard definition and then high definition (HD) cameras improved video quality dramatically. They were embraced mostly by: A) Third World filmmakers.

B) studio filmmakers.

C) independent and DIY filmmakers.

D) mainstream Hollywood.

Answer: C Accessibility: Keyboard Navigation 4) Filmmakers who formerly would have used 8mm or 16mm film turned almost wholly to digital media. One festival could only have emerged in the digital era that challenged amateurs to: A) make a coherent narrative video out of shots randomly appropriated from existing studio movies.

B) pitch a script idea and compete for a contract from a studio arthouse subsidiary.

C) design a seemingly official website for a classic silent film.

D) make a short film in two days, with the results screened immediately.

Answer: D Accessibility: Keyboard Navigation

1 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

5) In ________, performers with dots attached to their bodies were recorded by digital cameras at the shooting stage.

A) color grading B) motion capture C) previsualization D) motion control Answer: B Accessibility: Keyboard Navigation 6) The first feature film to use digital intermediates for color manipulation was: A) Return of the Jedi B) Pleasantville C) Cold Mountain D) O Brother, Where Art Thou?

Answer: B Accessibility: Keyboard Navigation 7) During the 1980s and 1990s, toys and insects with little surface texture were used as characters in Pixar's Toy Story and A Bug's Life (1998) because: A) of their familiarity with very young children, who were the target audience for animated movies.

B) animal rights advocates protested the cinematic exploitation of domesticated animals.

C) limitations in computer speed and memory confined animators to smooth surfaces and simple shapes.

D) of anxieties over the gradual replacement of real actors by life-like computer-generated imagery (CGI) humans.

Answer: C Accessibility: Keyboard Navigation 8) In 2006, Pixar was acquired by: A) Pacific Data Images.

B) George Lucas.

C) DreamWorks.

D) Disney.

Answer: D Accessibility: Keyboard Navigation

2 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

9) Live-action films could be shot in 3D or converted from 2D versions. A 3D version of ________ found success released as a Christmas classic.

A) Tim Burton's The Nightmare Before Christmas B) The Lord of the Rings: The Fellowship of the Ring C) Toy Story D) Star Wars Answer: A Accessibility: Keyboard Navigation 10) In the context of the digital cinema initiative, the whole batch of audio, video, and encryption files became a "Digital Cinema Package" (DCP). Identify a true statement about the DCP. A) It could be opened only with an alphanumeric key that was sent separately to the theater.

B) It used an encryption device that was different from the one used by banks for online transactions.

C) It was extremely vulnerable to hacking, and security was a major concern.

D) It would wear out with time, so another package would have to be supplied to the theater after a few days of projection.

Answer: A Accessibility: Keyboard Navigation 11) In the context of digital distribution, the main beneficiaries of the disc boom were the ________.

A) agents B) theater owners C) theater projectionists D) major studios Answer: D Accessibility: Keyboard Navigation 12) The Blair Witch Project rose to stupendous success because of: A) its makers launching an intriguing website.

B) its use of teen actors with devoted YouTube followings.

C) an unprecedentedly large Internet advertising campaign.

D) its simultaneous day-and-date release on DVD and pay-per-view.

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.

13) Around 2001, identify a true statement about film publicity and marketing.

A) Several unofficial fan sites were targeted and shut down by studio lawyers.

B) The Majors' parent companies began buying web portals and Internet service providers.

C) Films' official websites became more entertaining and participatory.

D) Security was tightened on the sets of projected tentpole films to keep out "spies."

Answer: C Accessibility: Keyboard Navigation 14) The first widely popular film-based video game was: A) Stranglehold.

B) GoldenEye 007.

C) Harry Potter and the Goblet of Fire.

D) Prince Caspian.

Answer: B Accessibility: Keyboard Navigation 15) By the mid-2000s, digital technology had entered, piecemeal, every phase of the filmmaking process, from script and set design to postproduction and marketing; yet nearly all releases were still made and screened on 35mm photographic film.

Answer: TRUE Accessibility: Keyboard Navigation 16) "Rendering" refers to the preparation of a simple, digitally animated version of a sequence or a film.

Answer: FALSE Accessibility: Keyboard Navigation 17) Digital technology benefited documentary, independent, and avant-garde filmmaking, and it gave nonprofessionals access to high-budget creative options.

Answer: TRUE Accessibility: Keyboard Navigation 18) By the beginning of the 2000s, electronic press kits (EPKs) on CD-ROM or DVD had become common and contained downloadable photos, clips, and interviews geared to radio and TV coverage.

Answer: TRUE Accessibility: Keyboard Navigation

4 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.

19) By late 2003, making digital intermediates (DIs) became highly expensive, discouraging independent and arthouse films around the world to utilize them.

Answer: FALSE Accessibility: Keyboard Navigation 20) By 2006, the encryption of DVDs became robust and hackers' attempts to copy the discs led to self-destruction of the files.

Answer: FALSE Accessibility: Keyboard Navigation 21) In what sense has the digital revolution actually preserved the viability of shooting films on a film? How have filmmakers managed to integrate the options provided by digital video with a technological apparatus that dates back more than a century? Describe the ways in which digital tools have (in recent years) affected each stage in a film's production life.

Answer: Answer may vary.

Accessibility: Keyboard Navigation 22) What is at stake with the ongoing move toward the digital forms of exhibition? Identify the benefits of digital projection for both theaters and studios, and explain why the rollout of digital cinema in the United States has taken so long, despite early optimism for a quick conversion.

Furthermore, what role has the increased production of high-profile movies in 3D played in the speed of this conversion?

Answer: Answer may vary.

Accessibility: Keyboard Navigation 23) What does "convergence" mean in relation to digital media? What does it mean to experience a film via several different "platforms"? Evaluate the effectiveness of the studios' efforts in the new century to incorporate innovations in DVD, Internet, and videogame technology into their business.

Answer: Answer may vary.

Accessibility: Keyboard Navigation

5 Copyright 2019 © McGraw-Hill Education. All rights reserved. No reproduction or distribution without the prior written consent of McGraw-Hill Education.