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Question
The difference between panchromatic and orthochromatic film stock is
a. orthochromatic film stock requires less light for exposure.
b. panchromatic film stock is no longer in use.
c. panchromatic film stock is sensitive to the entire spectrum of light.
d. orthochromatic film stock produces a softer image.
e. orthochromatic film stock is sensitive to only red and yellow light.
f. There is no significant difference between the two.
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
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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.
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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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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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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.
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Q:
The first collaboration between De Sica and Zavattini was on the film
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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.
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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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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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a. Thatchers d. Susans
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a. Lelands d. Raymonds
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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.
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f. none of the above
Q:
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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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f. all of the above
Q:
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a. was a 3-D projection system.
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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
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d. abandoned its attempts to make anticommunist films.
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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.
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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.
e. lobbying the government on behalf of the movie industry.
f. none of the above
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.
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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.
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f. none of the above
Q:
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b. low-key lighting.
c. shadows and darkness dominating the frame.
d. expressive distortion in close-ups.
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Q:
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c. generally rural settings.
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e. a cinema of moral anxiety.
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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