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Question
The advertisement D. W. Griffith took out for himself contains all of the following EXCEPT
a. he takes credit for inventing the close-up, the long shot, and the fade out.
b. he takes credit for all the great Biograph successes by specific title.
c. he predicts the quick demise of Biograph without him as a director.
d. he takes credit for founding the modern technique of the motion picture art.
e. All of the above are in the ad.
f. Griffith never took out an advertisement like the one described.
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
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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.
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
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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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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.
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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.
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Q:
The first collaboration between De Sica and Zavattini was on the film
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a. Rome, Open City. d. Paisan.
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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.
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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.
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b. the sled.
c. the Greek sculptures.
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a. Thatchers d. Susans
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a. Lelands d. Raymonds
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Q:
Which of the following events are NOT described in Thatchers narrative in Citizen Kane?
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b. Kanes taking over the New York Inquirer
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.
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.
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Q:
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a. became the dominant widescreen system in the United States throughout the 1960s.
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Q:
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a. was a 3-D projection system.
b. required three synchronized cameras.
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d. was the same height as a conventional movie screen but over twice as wide.
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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.
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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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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
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b. low-key lighting.
c. shadows and darkness dominating the frame.
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Q:
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Q:
The economic problems experienced by Hollywood in 19471948 led to
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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