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Q:
The kinds of movies that saved Hollywood in the 1970s are known as
A. exploitation films.
B. extravaganzas.
C. independent films.
D. blockbusters.
Q:
If a film is called a "tentpole," it means that the film
A. attracts enormous critical and popular attention and is nominated for awards.
B. features a large amount of special effects and action sequences.
makes enough money to shelter other, smaller pictures.
D. exerts a wide appeal across demographic boundaries.
Q:
Most of the "movie brats" who emerged in the early 1970s had A. gone to film school, where they studied film traditions. B. come up through the ranks of the studio system. C. gone into the business without any knowledge of filmmaking. D. come out of a strong Surrealist tradition.
Q:
Five Easy Pieces (1970), The Last Picture Show (1972), and a number of works directed by John Cassavetes have in common the fact that they were
A. major box-office successes that rejuvenated a flagging business.
anti-blockbusters, featuring ordinary people with ordinary lives.
C. made in an attempt to protest American foreign policy.
D. all shot by cinematographer Lszl Kovcs.
Q:
A major turning point in Hollywood history occurred in 1968 with the A. dissolution of the studio system. B. birth of the modern blockbuster. C. establishment of the MPAA film ratings system. D. advent of the "film brat" movement.
Q:
Which of the following contributed to the rise of independent filmmaking in the 1980s?
A. Studios' loss of faith in auteurs' blockbusters
B. The growth of home video and cable television
C. The low costs involved
D. All of the answer choices are correct.
Q:
During the 1980s and early 1990s, a great number of innovative directors and films emerged from
Hong Kong.
B. Paris.
C. Tokyo.
D. Singapore.
Q:
In contrast to traditions, shorter-lived trends in film are known as movements.
Q:
Thomas Edison was quick to understand that movies would one day be a big business.
Q:
By the late 1910s the Hollywood studio system had come into existence.
Q:
Unlike the Soviet Montage filmmakers of the 1920s, the Italian Neorealists were A. opponents of filming outside the studio and wanted to craft intricate realistic sets. B. experienced filmmakers who had studied Hollywood and European film traditions and knew each other. C. dedicated to experimentation and innovation in editing, but worried about censorship by the Italian government under Mussolini. D. inclined to use highly subjective styles, reminiscent of Impressionism, including distorted imagery.
Q:
Which of the following is NOT a typical trait of Italian Neorealism? A. Mixing of professional actors with nonactors B. Loosely constructed narratives with ambiguity and open endings C. Use of the three-point lighting system on location D. Shooting scenes silent and postsynchronizing the sound
Q:
The young directors of the French New Wave A. were deeply opposed to classical Hollywood cinema due to its lack of artistry. B. studied under older French filmmakers and worked their way up through the studios. C. borrowed money to make short films and features using location shooting. D. formed a filmmaking cooperative, the "Socit des Auteurs" that approved films for quality before release.
Q:
Which of the following does NOT characterize German Expressionism? A. Emphasis on creative editing B. Distorted, exaggerated shapes C. All elements of the mise-en-scene interact graphically. D. Actors wore heavy makeup and moved in unusual ways.
Q:
Which of the following traits is NOT typical of French New Wave films?
A. Casual humor and references to other films
B. Many tracking, panning, and handheld camera movements
C. Shooting in real buildings using available light
D. Frequent criticism of the French government
Q:
Which of the following factors did NOT contribute to the decline of German Expressionism?
A. Increasing competition from foreign films
B. The departure of actors and directors to Hollywood
C. Increasingly high film budgets that led to financial problems
D. Censorship imposed by the Nazis
Q:
Which of the following is NOT one of the typical characteristics of French Impressionist films? A. Intimate psychological and subjective narratives B. Loud action sequences, such as sword fights, to propel the narrative C. Love triangles among a small cast of characters D. Use of superimposition and rhythmic editing to evoke thoughts and moods
Q:
The film movement that emphasized bizarre and evocative imagery while attacking traditional notions of causality and coherence was known as
A. Impressionism.
B. Expressionism.
Surrealism.
D. Dadaism.
Q:
Expressionism, Impressionism, and Surrealism were all finished as film movements by about
A. 1910.
B. 1920.
1930.
D. 1940.
Q:
Which of the following was a serious problem faced by the Soviet film industry after the 1917 Revolution? A. Shortages of film equipment and raw stock B. The shutdown of the State School of Cinema Art C. The New Economic Policy (NEP), which caused the economy to stagnate D. Lenin's view that cinema was the least important of the arts
Q:
Directors in the Soviet Montage movement put the greatest emphasis and priority on
A. mise-en-scene.
B. storytelling.
C. cinematography.
D. editing.
Q:
The most important change that occurred in Hollywood during the late 1920s was the
A. lift on the ban by MPAA to show intimacy on screen.
arrival of synchronized sound filmmaking.
C. consolidation of film companies into only three studios.
D. introduction of color film.
Q:
Which of the following statements about the introduction of synchronized sound in the late 1920s is NOT correct? A. Though The Jazz Singer (1927) is sometimes referred to as the first talkie, Don Juan (1926) had some prerecorded sound. B. Fierce competition between film companies such as MGM and Warner Bros. delayed the industry-wide adoption of sound where the lawsuits were resolved. C. At first, sound actually represented a setback from the silent era, with its rich visual storytelling. D. Early in the sound era, cameras and microphones could not be moved easily, and this made for static scenes and staging.
Q:
One cinematic genre that flourished in the 1930s as a result of recent technological developments in filmmaking was the A. musical. B. Western. C. crime thriller. D. romantic comedy.
Q:
The most significant technological development in film during the 1930s was the
A. introduction of sound to filmmaking.
B. creation of large-scale sets for filming epics.
widespread availability of color film stocks.
D. development of dollies and tracking mechanisms so cameras could be mobile.
Q:
Citizen Kane (1941) reflects the trend toward a(n) ______ style of cinematography, which developed in the late 1930s.
A. iris in/iris out
B. long-shot
C. rack-focusing
D. deep-focus
Q:
The movement known as Neorealism emerged in ______ after World War II.
Italy
B. France
C. Germany
D. Great Britain
Q:
Which of the following was NOT one of the earliest feature films?
A. A Trip to the Moon by Georges Mlis
B. The Great Train Robbery by Edwin S. Porter
C. Rescued by Rover by Lewin Fitzhamon
D. The Black Maria by Thomas Edison
Q:
Technicolor in the 1930s required lots of light on set which is provided by powerful lighting units. This addition of more light then permitted filmmakers to experiment with deep-focus shots in black and white.
Q:
Which of the following does NOT characterize the American film business in the 1910s and 1920s? A. Most film companies relocated to California. B. American companies faced heavy competition from European firms. C. Smaller film companies merged to form larger ones. D. The pattern for the next few decades was established.
Q:
The introduction of sound and color radically changed the classical Hollywood approach to storytelling.
Q:
Which of the following does NOT characterize American filmmaking in the mid-1910s, as exemplified by Cecil B. De Mille's The Cheat (1915)? A. Glass-roofed studios that used natural light were related with closed studios with artificial light. B. Classical continuity edited had been established, and patterns of narrative were linear. C. Filmmaking was highly subjective and used distortion of images to represent emotional states. D. The system of staging, shooting, and editing was developing and becoming standardized.
Q:
Virtually all the Italian Neorealist directors were young film critics who made their first films just after World War II.
Q:
French New Wave films continued the experimentation with plot construction begun by the Italian Neorealists.
Q:
From the beginning, the French film industry was hostile to the New Wave and eventually contributed to its decline through its censorship.
Q:
American blockbusters in the 1970s included few major established stars.
Q:
Bruce Lee was an American that moved to Hong Kong to make martial arts films.
Q:
What does a film movement consist of? Give two specific examples from Film Art, lectures, and films seen in class.
Q:
Discuss the current relationship between Hollywood and independent filmmakers. Consider the current role of tentpole films, star-driven comedies, film festivals, genre projects, prestige pictures, blockbusters, "Oscar bait" films, and Mumblecore. How do these kinds of films all work together to form the current state of the film industry? What are the main factors that influence the industry today?
Q:
In the 2000s weve seen a climate that discourages innovation in theatrical releases due largely to the increase of video on demand. How might this shift explain the jump in films being released in 3D, the move to remaking older films, the increase in animation, and the reliance on sequels/franchises such as Despicable Me, Spider-Man, The Fast and the Furious, and Hunger Games? What intersection do you see between the shift in filmmaking and the increase of cable television serials such as Game of Thrones, Downton Abbey, The Wire, and Breaking Bad?
Q:
Where does the film noir style fit into American filmmaking history? Discuss what new techniques developed in the 1930s were used later in film noir style films.
Q:
People today have difficulty understanding older films most often because those films
operate according to different conventions.
B. are not as visually well-crafted as modern movies.
C. involve romantic plots that do not appeal to contemporary sensibilities.
D. lack action sequences and are very slow paced.
Q:
Which of the following was NOT among the earliest early pioneers of film? A. tienne-Jules Marey B. Eadweard Muybridge C. Franois Truffaut D. Jules Marey
Q:
Louis and Auguste Lumire A. developed a peep-show machine for exhibiting bawdy short films. B. used the Black Maria studio to capture and analyze animals' movements using glass plates of film. C. held one of the earliest public presentations of films projected on a screen in Paris in 1895. D. were assistants to Thomas A. Edison and invented the Kinetoscope.
Q:
In modern times, the types of films that most resemble the earliest films are A. music videos. B. amateur videos posted on YouTube. C. television commercials. D. All of the answer choices are correct.
Q:
Many scholars believe that cinema actually benefited from the fact that it emerged as a solely visual art form before the development of synchronized sound filmmaking.
Q:
Blitz's Spellbound and Hitchcock's Spellbound not only share the same film title but are also both considered fictional films.
Q:
Films that present strong opinions and make weak arguments without reliable research cannot be considered documentaries; instead, they are considered fiction.
Q:
Koyaanisqatsi uses almost no recognizable human speech.
Q:
Animated documentaries are usually instructional films.
Q:
Live-action films use continuous filming of an ongoing action in real time, but animation involves creating images one frame at a time.
Q:
Who Framed Roger Rabbit was the first film that mixed animation with live action.
Q:
Create a table that delineates the characteristics of categorical, rhetorical, abstract, and associational formal systems. Include in the table brief examples of each system.
Q:
Write a paragraph explaining how we distinguish a documentary using categorical form from one using rhetorical form. Use specific examples from Film Art, from lectures, or from films shown for the course.
Q:
Write a paragraph explaining how we distinguish an experimental film using abstract form from one using associational form. Use specific examples from Film Art, from lectures, or from films shown for the course.
Q:
Some non-narrative films draw on aspects of narrative form to organize sections or parts. Choose one non-narrative film that draws on narrative principles. What sort of non-narrative principles organize the overall film? How does it draw on narrative principles of organization? What purposes are fulfilled by the narrative portions of the film? Point to specific sequences that support your claims.
Q:
Describe how animation differs from live-action filming. Explain the common types of animation and give examples of each.
Q:
How did the animation technique used to make Duck Amuck differ from that used to make Sita Sings the Blues? What makes each film visually interesting and unique? How do the films reflect the time periods in which they were made? Use specific examples from each film to illustrate you ideas.
Q:
The most important Surrealist films of the 1920s were made in England.
Q:
The Soviet Montage movement emphasized individual personalities by using famous actors with very distinctive appearances and mannerisms.
Q:
By definition, an abstract experimental film does not involve any recognizable objects.
Q:
When a documentary is referred to as synthetic it means it's a false documentary, or a mockumentary.
Q:
Cheaper animated productions, including some television, use ______ animation, in which only small sections of the image move from frame to frame.
A. full
B. cel
C. drawn
D. limited
Q:
In full animation, A. figures are rendered in fine detail, with tiny, nonrepetitive movements. B. a large "cast" of characters is involved. C. various areas of the screen use cut-outs at different times. D. movement takes place on all areas of the screen at all times.
Q:
Which of the following is NOT one of the three closely related categories of three-dimensional object animation?
A. Claymation using Plasticine
B. Model animation using puppets
C. Pixillation with ordinary objects or people
D. Illustrative animation using collage
Q:
"3D" computer animation is so named because it
A. gives an impression of depth when viewed through special glasses in a theatre.
makes two-dimensional drawings look three-dimensional (with "volume").
C. is made to be shown on special 3D movie screens.
D. involves the 3D's: drawing, detail, and description.
Q:
Directed by Chuck M. Jones in 1953, ______, with its experimental feel, is considered one of the masterpieces of American animation. A. The Scarlet Pumpernickel B. Snow White and the Seven Dwarfs C. Duck Amuck D. Fantasia
Q:
Dimensions of Dialogue, by Czech animator Jan Svankmajer, can best be described as
A. light-hearted, happy, and whimsical.
surreal, violent, and disturbing.
C. lyrical, flowing, and poetic.
D. hilarious, sardonic, and satirical.
Q:
Fact-based films such as Apollo 13, Schindler's List, and Selma are considered documentaries because they deal with real events.
Q:
Although documentaries often record events as they are occurring, sometimes events in a documentary may be staged.
Q:
Cinma-vrit or "cinema-truth" is another term for direct-cinema documentary.
Q:
When a documentary filmmaker wants to make an argument or convince people of something, he or she employs categorical form.
Q:
Olympia, Helvetica, and Gap-Toothed Women are examples of documentaries that use categorical form.
Q:
Mokumentaries pretend to portray real people and are often quite serious.
Q:
In The River, Pare Lorentz explores a number of balanced viewpoints on his subject, leaving the audience to form their own conclusions.
Q:
Experimental films are also known as avant-garde films.
Q:
Animated films are distinguished from live-action ones by the kinds of work done at the ______ stage.
A. development
B. pre-production
production
D. post-production
Q:
In animation, cels are A. segments of the storyboard. B. clear rectangular sheets of celluloid. C. sections within the script. D. areas of the screen on which images are drawn.
Q:
The greatest challenge involved in using categorical form in a documentary is the
A. difficulty involved in properly assigning categories and finding examples of those.
B. fact that it tends to develop in complex ways and thus risks confusing the viewer.
C. difficulty involved in properly relating the categories to the viewer's experience.
D. fact that it tends to develop in fairly simple ways and thus risks boring the viewer.
Q:
Whereas most documentaries present talking heads in ______, Les Blank's Gap-Toothed Women makes extensive use of ______.
A. extreme close-ups; medium shots or medium close-ups
B. extreme long shots; extreme close-ups
medium shots or medium close-ups; extreme close-ups
D. extreme close-ups; extreme long shots