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Question
Gillo Pontecorvos The Battle of Algiers
a. is a film that questions Italys role in World War II.
b. is an abstract, experimental feature that fragments time and space.
c. was banned by the Italian government and never shown.
d. led to a long, successful feature filmmaking career for Pontecorvo.
e. is a documentary reconstruction of historical events.
f. none of the above
Answer
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Related questions
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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
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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
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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
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The Andreotti Law was passed in order to
a. privatize the formerly state-owned Italian film industry.
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c. regulate the content of imported films.
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e. require Italian theaters to show Italian films at least 20 percent of the time.
f. all of the above
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The decline of neorealism was primarily the result of
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b. a downward spiral in the Italian economy.
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e. directors losing interest in the subject matter.
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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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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.
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a. Rome, Open City. d. Paisan.
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a. was originally released with Welless ending intact before being pulled from circulation.
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a. was only the first of many films on which Welles had complete creative control.
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c. was, in its time, one of the most expensive films ever made.
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e. all of the above
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b. as the founder of an entire movement in art direction.
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d. as the master of the new long-take aesthetic.
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b. the sled.
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e. the original Declaration of Principles.
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b. Bernsteins e. Raymonds
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Which of the following events are NOT described in Thatchers narrative in Citizen Kane?
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c. Kanes financial failure
d. Kanes twenty-first birthday
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Q:
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a. were never popular with audiences.
b. were never produced by the major studios.
c. were extremely popular for approximately one year.
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a. was the first successful Cinerama film.
b. was the first film made in the single-strip Eastmancolor process.
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a. became the dominant widescreen system in the United States throughout the 1960s.
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a. was a 3-D projection system.
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b. experienced unprecedented box-office growth.
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f. none of the above
Q:
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a. one of the most creative periods in Hollywoods history.
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d. was never popular with American audiences.
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c. generally rural settings.
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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