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Question
During the decade of the 1950s, the Hollywood star system
a. continued operating just as it had in the 1930s and 1940s.
b. began to dissolve, as stars formed their own production companies.
c. became even stronger due to new profit-sharing contracts.
d. began offering actors longer contracts with less freedom than ever before.
e. put a new emphasis on expensive promotional campaigns.
f. c, d, and e are all true.
Answer
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Related questions
Q:
Neorealism
a. was extremely popular both in Italy and in international markets.
b. was the first postwar cinema to liberate filmmaking from the artificial confines of the studio.
c. created many stars who went on to have long distinguished careers in the Italian cinema.
d. was almost never improvised, relying on carefully prepared scenarios.
e. had little lasting influence on Italian or world cinema.
f. none of the above
Q:
Fellini and Antonioni
a. were both neorealist directors beginning in the 1940s.
b. were both writers during the neorealist period.
c. were both film critics for the journal Cinema before becoming directors.
d. completely abandoned neorealism when they became directors.
e. worked together throughout their careers.
f. none of the above
Q:
In the end, neorealism
a. completely revitalized the Italian cinema.
b. had a greater influence abroad than domestically.
c. had little impact on the international status of the Italian cinema.
d. was a short-lived movement with little lasting influence domestically or abroad.
e. failed to produce a large number of great films or great filmmakers.
f. none of the above
Q:
The Andreotti Law was passed in order to
a. privatize the formerly state-owned Italian film industry.
b. encourage the importing of European and American films.
c. regulate the content of imported films.
d. aid in the export of neorealist films.
e. require Italian theaters to show Italian films at least 20 percent of the time.
f. all of the above
Q:
The decline of neorealism was primarily the result of
a. its lack of popularity in Europe and the United States.
b. a downward spiral in the Italian economy.
c. the Andreotti Law.
d. its lack of popularity in Italy.
e. directors losing interest in the subject matter.
f. all of the above
Q:
The creative partnership between De Sica and Zavattini
a. ended with the demise of neorealism in the 1950s.
b. continued into the 1960s, working almost solely in the neorealist style.
c. was lengthy and productive, lasting until the ends of both their careers.
d. produced no new films after Umberto D.
e. never produced internationally successful films.
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Q:
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a. was their first foray into neorealism.
b. was a great success in Italy but not well received in the United States.
c. was a conventional middle-class comedy like so many of De Sicas early films.
d. was the most expensive Italian film of 1946.
e. was a white telephone film that also starred De Sica and Zavattini.
f. none of the above
Q:
The first collaboration between De Sica and Zavattini was on the film
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b. The Bicycle Thief. e. Germany, Year Zero.
c. Umberto D. f. none of the above
Q:
The first Italian film recognized as being neorealist was
a. Rome, Open City. d. Paisan.
b. Ossessione. e. The White Ship.
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Q:
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Q:
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a. was originally released with Welless ending intact before being pulled from circulation.
b. was adapted from a well-known novel.
c. was shot by Gregg Toland.
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e. abandons the long-take aesthetic for a more montage-oriented approach.
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a. was only the first of many films on which Welles had complete creative control.
b. constructed an enormous jungle set which was then only used in a few scenes.
c. was, in its time, one of the most expensive films ever made.
d. made Welles one of the most widely respected and highly in-demand directors in Hollywood.
e. all of the above
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Q:
Orson Welles is widely regarded
a. as the master of montage editing.
b. as the founder of an entire movement in art direction.
c. as an innovator in the field of special effects.
d. as the master of the new long-take aesthetic.
e. as the author of the first nonlinear narrative in Hollywood history.
f. all of the above
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The prop most closely associated with Susan in Citizen Kane and which goes on to become a metaphor for Kanes life is
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b. the sled.
c. the Greek sculptures.
d. the jigsaw puzzle.
e. the original Declaration of Principles.
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a. Thatchers d. Susans
b. Bernsteins e. Raymonds
c. Lelands f. none of the above
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a. Lelands d. Raymonds
b. Bernsteins e. Thatchers
c. Susans f. none of the above
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Which of the following events are NOT described in Thatchers narrative in Citizen Kane?
a. Kanes childhood
b. Kanes taking over the New York Inquirer
c. Kanes financial failure
d. Kanes twenty-first birthday
e. Kanes marriage to Susan
f. All of the above are in Thatchers narrative.
Q:
3-D films
a. were never popular with audiences.
b. were never produced by the major studios.
c. were extremely popular for approximately one year.
d. have not been produced since the 1960s.
e. have always required the use of polarized glasses.
f. none of the above
Q:
Bwana Devil
a. was the first successful Cinerama film.
b. was the first film made in the single-strip Eastmancolor process.
c. was the first film produced in the Vista Vision process.
d. was the first film shown with seven-track stereophonic sound.
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Q:
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a. became the dominant widescreen system in the United States throughout the 1960s.
b. eventually adopted a single lens system but never became widely used.
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a. was a 3-D projection system.
b. required three synchronized cameras.
c. required a special spherical lens.
d. was the same height as a conventional movie screen but over twice as wide.
e. was shown on an enormous flat screen.
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Q:
In the period from 1952 to 1965, Hollywood
a. produced primarily sanitized versions of traditional genre films.
b. experienced unprecedented box-office growth.
c. made many controversial films dealing with serious social issues.
d. abandoned its attempts to make anticommunist films.
e. no longer viewed television as an industrial threat.
f. none of the above
Q:
The blacklist resulted in
a. one of the most creative periods in Hollywoods history.
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c. a sense of security in Hollywood since it was now rid of Communists.
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Q:
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b. protecting the rights of the HUACs accused witnesses.
c. ending the Production Code.
d. unionizing Hollywoods creative workers.
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Q:
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a. was an organization of the major movie studios devoted to fighting Communism.
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c. were the ten biggest stars in Hollywood.
d. was a group of filmmakers who were jailed for refusing to testify before the HUAC.
e. comprised mostly actors and directors.
f. none of the above
Q:
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b. was only seen in films about crime and the underworld.
c. could be seen in many genres including the romance and the western.
d. was never popular with American audiences.
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Q:
Film noir cinematography is characterized by
a. use of wide-angle lenses.
b. low-key lighting.
c. shadows and darkness dominating the frame.
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Q:
All of the following are characteristic of film noir EXCEPT
a. the featuring of often unsympathetic antiheroes.
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c. generally rural settings.
d. the depiction of a corrupt social order and human depravity.
e. a cinema of moral anxiety.
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Q:
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b. film noir. e. westerns.
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Q:
The economic problems experienced by Hollywood in 19471948 led to
a. a new concern for high quality scripts.
b. films that could be shot on location with smaller casts and crews.
c. greater social and psychological realism.
d. films that dealt with prejudice, corruption, and social inequality.
e. greater freedom for writers and directors.
f. all of the above