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Question
The Mexican film industry in the 1980s and 1990s
a. stabilized at an output of about fifty films a year.
b. went through a period of uninterrupted decline that has still to abate.
c. declined precipitously before expanding quickly then shrinking again.
d. went through a period of unprecedented expansion as government subsidy and private investment drove a consistent increase in production.
e. produced many films but none of international stature.
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
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
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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.
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.
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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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The first Italian film recognized as being neorealist was
a. Rome, Open City. d. Paisan.
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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.
e. all of the above
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Orson Welles is widely regarded
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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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f. all of the above
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b. the sled.
c. the Greek sculptures.
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e. the original Declaration of Principles.
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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
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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
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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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f. all of the above
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a. was a 3-D projection system.
b. required three synchronized cameras.
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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.
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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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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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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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c. could be seen in many genres including the romance and the western.
d. was never popular with American audiences.
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f. none of the above
Q:
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c. shadows and darkness dominating the frame.
d. expressive distortion in close-ups.
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b. women portrayed as double-crossing femmes fatales.
c. generally rural settings.
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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