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Question
The British director who went from tough gangster films like Get Carter to campy science fiction with Flash Gordon was
a. Mike Hodges. d. Mike Figgis.
b. Mike Newell. e. Michael Radford.
c. Mike Leigh. f. none of the above
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.
f. none of the above
Q:
De Sica and Zavattinis Shoeshine
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
a. Shoeshine. d. Miracle in Milan.
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.
c. Shoeshine. f. none of the above
Q:
The government department that controlled movie distribution and exhibition in fascist Italy was
a. LUCE. d. Cinecitt.
b. ENIC. e. VGIK.
c. Centro Sperimentale. f. none of the above
Q:
The Magnificent Ambersons
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.
d. has been restored to the form initially intended by Welles.
e. abandons the long-take aesthetic for a more montage-oriented approach.
f. all of the above
Q:
Citizen Kane
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
f. none of the above
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
Q:
The prop most closely associated with Susan in Citizen Kane and which goes on to become a metaphor for Kanes life is
a. the snow globe.
b. the sled.
c. the Greek sculptures.
d. the jigsaw puzzle.
e. the original Declaration of Principles.
f. none of the above
Q:
Kanes tantrum wherein he destroys Susans bedroom is told in whose story in Citizen Kane?
a. Thatchers d. Susans
b. Bernsteins e. Raymonds
c. Lelands f. none of the above
Q:
The Declaration of Principles document is written in whose story in Citizen Kane?
a. Lelands d. Raymonds
b. Bernsteins e. Thatchers
c. Susans f. none of the above
Q:
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.
e. was the first film shot in 70mm.
f. none of the above
Q:
Cinerama
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.
c. eventually adopted a flat screen system that allowed it to become more widely used.
d. was never very successful though it was recognized as a technological breakthrough.
e. recorded sound on the same three negatives that comprised the image.
f. all of the above
Q:
Cinerama
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.
f. all of the above
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.
b. the liberalization of the Screen Actors Guild.
c. a sense of security in Hollywood since it was now rid of Communists.
d. little more than the loss of a handful of jobs.
e. over three hundred people being fired by the studios.
f. none of the above
Q:
The Committee for the First Amendment was a group dedicated to
a. ridding Hollywood of Communism.
b. protecting the rights of the HUACs accused witnesses.
c. ending the Production Code.
d. unionizing Hollywoods creative workers.
e. lobbying the government on behalf of the movie industry.
f. none of the above
Q:
The Hollywood Ten
a. was an organization of the major movie studios devoted to fighting Communism.
b. was a set of ten regulations by which the major studios conducted their business.
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:
In the postwar American cinema, the film noir style
a. enjoyed a very brief period of popularity.
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.
e. did not accurately reflect the buoyant mood of postwar America.
f. none of the above
Q:
Film noir cinematography is characterized by
a. use of wide-angle lenses.
b. low-key lighting.
c. shadows and darkness dominating the frame.
d. expressive distortion in close-ups.
e. night-for-night shooting.
f. all of the above
Q:
All of the following are characteristic of film noir EXCEPT
a. the featuring of often unsympathetic antiheroes.
b. women portrayed as double-crossing femmes fatales.
c. generally rural settings.
d. the depiction of a corrupt social order and human depravity.
e. a cinema of moral anxiety.
f. all of the above
Q:
In 1947 nearly one-third of all American films could be classified as
a. social-problem films. d. musicals.
b. film noir. e. westerns.
c. war films. f. none of the above
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