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Question
What was the problem with realism in films at least during the early years of the 60s?Answer
N/ARelated questions
Q:
Is Leni Riefenstahl's The Triumph of the Will a documentary or a work of fiction?
Q:
What quality do Alfred Hitchcock's American films possess that is lacking in his earlier British films?
Q:
Silence was better suited to Renoir's films than sound because of the films' contemplative and realistic perspectives.
Q:
Why were young audiences taken with George Lucas' Star Wars trilogy?
Q:
Marcel Carn prefigures film noir.
Q:
How was sex portrayed in movies of the 70s?
Q:
Why does neorealism continue to show up in the films of very different cultures like Romania and Iran?
Q:
To what tradition is Guillermo del Toro's Pan Labyrinth indebted?
Q:
Matching1) Spielberg's first theatrical feature ___2) Alvidsen's optimistic blockbuster ___3) Francis Ford Coppola's war movie ___4) May's wry, witty movie ___5) Friedkin's buddy cop movie ___6) Altman's view of country music ___7) Scorsese boxing movie ___8) Mazursky's movie of loving relationship ___9) Forman's adaptation of a novel ___10) Allen's contemporary comedy of manners ___a. Nashvilleb. The Heartbreak Kidc. Blume in Loved. Raging Bulle. Apocalypse Nowf. Manhattang. Sugarland Expressh. Rockyi. The French Connectionj. One Flew Over the Cuckoo's Nest
Q:
Steven Spielberg is like European filmmakers in that his films are filled with homages and allusions to other movies, genres, and filmmakers.
Q:
British drama was not hampered at all departures of artists like Charlie Chaplin.
Q:
Hitler targeted two areas to condemn and promote his policies: Americans and movies.
Q:
Policies of democratically elected governments in Latin American countries helped the film industry to erupt there.
Q:
By definition the revisionist stage of the genre development cycle is ironic.
Q:
Mexican directors like Guillermo del Toro generally make more money in Mexico than in the U.S.
Q:
Movie audiences expanded as retirees, looking for something to do, began to flock to theatres.
Q:
The New Wave film movement of France most admired which French film director?
a. Jean Cocteau
b. Jean Renoir
c. Marcel Carn
d. Jacques Prvert
Q:
Romanian filmmakers and Islamic filmmakers share many filmmaking techniques with Italian neorealists.
Q:
Blaxploitation films of the 1970s invariably featured anti-heroes as their main characters.
Q:
If French civilization were destroyed today, what film, according to Richard Roud, could be used to reconstruct that civilization?
a. Rules of the Game
b. Beauty and the Beast
c. Children of Paradise
d. none of the above
Q:
Jean Cocteau made which of the following magical tales?
a. Beauty and the Beast
b. The Blood of the Poet
c. both a and b
d. neither a and b
Q:
The French admired and paid homage in their surrealist films to
a. American slapstick comedy as seen in Buster Keaton and Laurel and Hardy
b. Russian masters Pudovkin and Eisenstein
c. Alfred Hitchcock and Alexander Korda
d. all of the above
Q:
Many successful movies like the Lord of the Ring Trilogy have primarily been international co-productions.
Q:
Robert DeNiro starred in all of the following Martin Scorsese films except
a. Raging Bull
b. Mean Streets
c. Gangs of New York
d. The King of Comedy
Q:
Olivier's film version of Hamlet was a technically amateurish production since Olivier's passion was live theater.
Q:
Unlike Sennett, Charlie Chaplin realized
a. nothing transcended character.
b. nothing transcended goof looks.
c. nothing transcended crude, physical humor.
d. nothing transcended editing style.
Q:
The vast majority of Soviet film technicians and artists managed to escape and survive the horrors visited upon their country in World War II.
Q:
The favorite American movies of Josef Stalin were gangster movies.
Q:
Mack Sennett's comedy
a. worked off the odd idea that cops were funny.
b. often piled comic incidents to a "rally."
c. were populated by character types like the Unfaithful Wife.
d. all of the above
Q:
Griffith's strengths included all of the following except
a. creating clinical documentation.
b. creating emotional reactions.
c. creating lost worlds.
d. creating poetry and drama.