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Q:
The first feature film made completely with CGI was
a. Toy Story. d. The Abyss.
b. Willow. e. The Last Starfighter.
c. Final Fantasy: The Spirits Within. f. none of the above
Q:
All of the following are true of The Abyss EXCEPT
a. the effects were done by ILM.
b. it was composited digitally on a CCD scanner.
c. it introduced the digital set to feature films.
d. it demonstrated the narrative possibilities of photo-realistic effects.
e. it won an Academy Award for Best Visual Effects.
f. All of the above are true.
Q:
Which of the following is NOT a controllable variable in the construction of digital sets?
a. lighting
b. camera positioning
c. shot scale
d. camera movement
e. object movement
f. All of the above are controllable variables in digital sets.
Q:
The foundation for all 3-D computer animation is the production of
a. wireframes. d. pin-blocking.
b. digital mattes. e. motion capture.
c. morphed images. f. none of the above
Q:
3-D computer animation first appeared in the film
a. 2001: A Space Odyssey. d. Fantastic Voyage.
b. Futureworld. e. Tron.
c. Star Wars. f. none of the above
Q:
Star Wars
a. used a great deal of CGI for all of its many special effects.
b. used digital matte painting to create its backgrounds.
c. established the special effects company Industrial Light and Magic.
d. was the first film to use 3-D computer animation.
e. Both a and c are true.
f. none of the above
Q:
The first extensive photo-realistic computer-animation sequence to appear on screen was in
a. Star Wars. d. Star Trek II: The Wrath of Khan.
b. 2001: A Space Odyssey. e. Tron.
c. Futureworld. f. none of the above
Q:
CGI was initially invented for
a. use in CAD in the 1960s.
b. military research in the 1940s.
c. scientific ray tracing in the 1970s.
d. film special effects in the 1980s.
e. network television graphics in the 1950s.
f. none of the above
Q:
The company that produced the first digital matte painting for a feature film was
a. Mathematical Applications Group, Inc. (MAGI).
b. Digital Productions.
c. Digital Domain.
d. Boss Film Studios.
e. Industrial Light and Magic.
f. none of the above
Q:
The violence in The Wild Bunch
a. is not depicted in a realistic fashion.
b. is not nearly as graphic as that of previous films; the scenes just last longer.
c. has no real thematic purpose beyond shocking the audience.
d. was considered aesthetically appropriate by the critics of the 1960s.
e. introduced the conventions for the depiction of violence that would influence films from the 1970s until now.
f. none of the above
Q:
The film about an alienated journalist that was shot against the backdrop of the actual 1968 Democratic National Convention by director/cinematographer Haskell Wexler was
a. Midnight Cowboy. d. Night Moves.
b. Easy Rider. e. Medium Cool.
c. Seconds. f. none of the above
Q:
The youth culture film that was produced for $375,000 and earned over $50 million at the box office, thus encouraging Hollywood to embrace the youth market, was
a. Medium Cool. d. Easy Rider.
b. Bonnie and Clyde. e. The Wild Bunch.
c. The Graduate. f. none of the above
Q:
The youth-cult explosion of the late 1960s
a. lasted well into the 1970s.
b. had no long-term impact on the aesthetics of the American cinema.
c. was extremely brief, lasting just a few years.
d. produced dozens of distinguished films.
e. was led by directors like Penn and Peckinpah who would go on to do far greater work in the 1970s and 1980s.
f. none of the above
Q:
All of the following are true of celluloid film stock EXCEPT
b. it is an analog medium.
c. it records light bouncing off objects.
d. it relies on a photosensitive emulsion to produce an image.
e. it has a higher resolution than digital imaging.
f. All of the above are true.
ANS: A DIF: 3 REF: Page 701 MSC: Analyzing
Q:
CGI
a. is an analog process.
b. is a form of computerized digital animation.
c. can be used to create backgrounds but not characters.
d. first began appearing in commercial films in the early 1960s.
e. is used only for the creation of special effects.
f. all of the above
Q:
By the mid-1990s, CGI
a. was no longer in use, as it had been supplanted by a more sophisticated system.
b. was just beginning to be used for creating special effects.
c. was used in nearly all films that featured special effects.
d. was still too expensive to be used in any but the biggest budget films.
e. was not yet able to simulate lighting or lens effects but was good for creating backgrounds.
f. none of the above
Q:
CGI is currently used for
a. simulating rain, snow, and clouds.
b. removing unwanted elements from the shot.
c. lighting effects.
d. creating artificial extras for crowd scenes.
e. all of the above
f. none of the above
Q:
CGI was initially used in the motion picture industry for
a. color correction. d. special effects.
b. constructing synthetic sets. e. wire removal.
c. dialogue enhancement. f. none of the above
Q:
The historical spectrum of events in Kubricks 2001: A Space Odyssey spans
a. the entire twentieth century plus one year.
b. the dawn of man to the future.
c. the last two millennia.
d. from the late 1960s until 2001.
e. from 2001 to an undisclosed time in the future.
f. none of the above
Q:
2001: A Space Odyssey
a. is more of an unconscious and emotional film experience than one reliant on narrative logic.
b. appears enigmatic but is actually very simple to interpret logically because the symbolism is so clear.
c. ends with the audience never knowing what happened to the astronaut.
d. was a major commercial disappointment when it was released.
e. contains no dialogue.
f. none of the above
Q:
The film for which the front projection photographic effect was perfected was
a. Star Wars. d. The Wild Bunch.
b. Jaws. e. The Last Starfighter.
c. Bonnie and Clyde. f. none of the above
Q:
Thematically, The Wild Bunch is about
a. romantic rebels fighting the military-industrial complex.
b. an America divided against itself by the war in Vietnam.
c. Americas mercenary presence in Vietnam.
d. the mythical relationship between humanity and technology.
e. the emergence of an alternative youth culture in American society.
f. none of the above
Q:
All of the following are films directed by Stanley Kubrick EXCEPT
a. Barry Lyndon.
b. Eyes Wide Shut.
c. The Shining.
d. Medium Cool.
e. Full Metal Jacket.
f. All of the above are films by Stanley Kubrick.
Q:
The Wild Bunch
a. shows the gang getting away at the end of the film.
b. begins and ends with spectacular massacre scenes.
c. was embraced by critics of the time for its realism.
d. shows the gang refusing to work with any authority figures.
e. suggests far more violence than it actually shows.
f. none of the above
Q:
The massacre scenes in The Wild Bunch
a. were filmed in long shot-long take to enhance their realism.
b. show no actual blood, instead focusing on the movements of the actors through the shots.
c. feature slow motion and kinetic montage.
d. are brief and relatively tame by contemporary standards.
e. are careful not to depict any civilian casualties but limit the bloodshed to outlaws and soldiers.
f. none of the above
Q:
In the 1970s, foreign films by directors like Fellini and Bergman
a. did not generally play in the United States.
b. were distributed by the major studios and played in first-run theaters.
c. only played in art house theaters, which experienced enormous growth during this time.
d. were actively blocked from major distribution in the United States by the studios.
e. both c and d
f. none of the above
Q:
Directors Arthur Penn, John Frankenheimer, and Sam Peckinpah all became movie directors
a. through their work in television.
b. through attending film school.
c. by starting out as screenwriters.
d. by working their way up through the ranks of the film business.
e. through theater directing.
f. all of the above
Q:
The most profound influence on the audiences of the late 1960s that set the stage for the New American Cinema was
a. television.
b. an appreciation for the techniques of the French New Wave.
c. the beginnings of college courses in film studies.
d. a sense of permissiveness that led to the end of American film censorship.
e. Only a and d were important influences.
f. All of the above were profound influences.
Q:
The film that heralded the arrival of the New American Cinema was
a. The Wild Bunch. d. Easy Rider.
b. 2001: A Space Odyssey. e. Bonnie and Clyde.
c. Medium Cool. f. none of the above
Q:
Bonnie and Clyde
a. was not popular with audiences at the time of its initial release.
b. was highly praised by critics when it was initially released, leading to several awards for the film.
c. was a straightforward gangster film, true to the generic model and without real political significance.
d. was supposed to have been directed by either Truffaut or Godard.
e. in the end, is a film with very conservative ideals.
f. all of the above
Q:
The American film that began the now standard action film technique of filming a scene with multiple cameras with different-length lenses running at different speeds is
a. The Wild Bunch. d. Jaws.
b. The French Connection. e. Medium Cool.
c. Bonnie and Clyde. f. none of the above
Q:
The independent production boom of the 1980s was primarily the result of
a. the breakdown of the major studios.
b. government tax incentives for investment in feature films.
c. videocassette distribution.
d. a proliferation of public and private funding sources emerging during this period.
e. the mass-market economies of the 1980s.
f. none of the above
Q:
The controversial political film that introduced Oliver Stone to mainstream film audiences was
a. Salvador. d. JFK.
b. Platoon. e. Wall Street.
c. Born on the Fourth of July. f. none of the above
Q:
Oliver Stones JFK
a. contains no true and accurate information about the JFK assassination.
b. attempts to rewrite history by combining true facts with constructed fiction.
c. had very little impact on the national debate about the Kennedy assassination.
d. was both a box-office failure and universally critically dismissed.
e. both a and d
f. none of the above
Q:
Oliver Stones Natural Born Killers
a. is primarily a critique of media manipulation.
b. was shot entirely in 16mm to give it a documentary look.
c. has a wild visual style but a fairly conventional narrative structure.
d. contains long sequences of continuity editing punctuated by jump cuts.
e. is about government intervention into the lives of individuals.
f. none of the above
Q:
In the 1960s, Hollywood
a. still led the world in all aspects of film production, aesthetics, and technology.
b. was still technologically innovative but failed to keep up with foreign industries aesthetically.
c. adjusted quickly to the fact that its audience was becoming older and less well-educated.
d. saw the size of its audience increasing while ticket prices also increased.
e. operated much as it had in the 1940s and 1950s with similar results.
f. none of the above
Q:
Stylistically, Natural Born Killers
a. represents a dramatic difference from the techniques used in JFK.
b. is very subtle in its use of color and visual texture.
c. uses a wide variety of film stocks including super-8 and black-and-white.
d. contains long sequences of unedited takes punctuated by jump cuts.
e. consistently looks like a live TV show.
f. none of the above
Q:
Between 1986 and 1995, Oliver Stone produced
a. his weakest body of work though before and after those years he directed several classics of the American cinema.
b. only three films, but all of them were considered important both critically and in terms of box office.
c. no films, as he took an extended hiatus from filmmaking to concentrate on political activism.
d. enduring works of social criticism that also challenged the stylistic conventions of Hollywood.
e. only films that dealt directly with the political situation in the United States.
f. none of the above
Q:
The most fundamental change in filmmaking practice during the early to mid-1960s was
a. films becoming less expensive to produce as a result of technological innovation.
b. films becoming more expensive to produce due to monetary inflation.
c. films becoming less expensive to produce because of falling box-office receipts.
d. films becoming more expensive to produce because of Hollywoods blockbuster strategy.
e. both b and d
f. none of the above
Q:
Of the following Hollywood spectacles produced during the 1960s, which did NOT lose money?
a. Dr. Dolittle d. The Sound of Music
b. Hello, Dolly! e. Both b and d were enormous hits.
c. Cleopatra f. All of the above lost money.
Q:
The relationship of the studios to the independent production companies that emerged in the 1960s was
a. none; the studios ignored the independents.
b. the studios aggressively tried to drive the independents out of business.
c. the studios distributed the films made by the independents.
d. the studios financed the films being made by the independents.
e. the studios began a program of buying all the independent production companies.
f. none of the above
Q:
The resurgence of film noir in the 1980s
a. was brief, though many films in the style were made in just a few years.
b. failed financially by 1985.
c. did not produce a distinguished body of films nor did it attract many major filmmakers.
d. continued into the 1990s and included work by many of the major directors.
e. both a and c
f. none of the above
Q:
The single largest financial disaster ever to hit a major Hollywood studio was the result of
a. Apocalypse Now. d. Waterworld.
b. Cleopatra. e. Heavens Gate.
c. Howard the Duck. f. none of the above
Q:
The lack of creativity in the Hollywood film industry in the 1980s can be attributed to
a. no interesting filmmakers emerging in the American cinema during this period.
b. the aging administrative structure of the studios, which had been in place since the studio era.
c. the demand by movie audiences for unimaginative films.
d. the fact that the studios were now being run by lawyers and accountants with no industry backgrounds.
e. a sharp decline in movie budgets.
f. none of the above
Q:
The first slasher film, which grossed $50 million on a $400,000 investment and started an American cinematic craze was
a. Friday the 13th. d. The Texas Chainsaw Massacre.
b. A Nightmare on Elm Street. e. The Evil Dead.
c. Halloween. f. none of the above
Q:
What percentage of American films produced in 1981 were slasher films?
a. 75 percent d. 25 percent
b. 60 percent e. 10 percent
c. 40 percent f. none of the above
Q:
The slasher film
a. had a strong influence on mainstream horror, science-fiction, and thrillers.
b. was a short-lived genre and is now produced in small numbers.
c. never had a significant impact on the mainstream box office.
d. could not be shown initially on home-video or cable.
e. produced no significant directors.
f. none of the above
Q:
All of the following were significant genres during the 1980s EXCEPT
a. the slasher film.
b. sword and sorcery.
c. adventure/fantasy.
d. science fiction.
e. the western.
f. All of the above were important genres in the 1980s.
Q:
In the 1980s, the target demographic for Hollywood films became
a. adults between the ages of 21 and 40. d. college-educated viewers.
b. women. e. male and female viewers of all ages.
c. young children. f. none of the above
Q:
The teenpix category of films
a. took advantage of the fact that young people wanted to see R-rated movies.
b. were never visually innovative or thought provoking.
c. emerged in the 1970s.
d. was, in its heyday, led by writer-director John Hughes.
e. all of the above
f. none of the above
Q:
In the 1970s, cinematographers emerged as auteurs in their own right as a result of
a. structural changes in the film industry that disempowered the director.
b. producers demanding more visual complexity in films than directors could deliver.
c. demands by the American Society of Cinematographers that directors of photography should have as much control on films as directors.
d. new technological developments in lenses, lightweight cameras, and stabilizing camera mounts.
e. changes in the workings of motion picture laboratories.
f. all of the above
Q:
The most dramatic technological innovations in cinematography during the late 1970s had to do with
a. cameras. d. camera mounts.
b. film stocks. e. laboratory processes.
c. lenses. f. none of the above
Q:
In the late 1980s, American box-office receipts
a. were being steadily eroded by cable television and videocassettes.
b. were in the midst of a downward spiral caused by an ever-shrinking audience.
c. were at an all-time high.
d. rose substantially from the nadir of the previous decades but did not reach the levels of the studio era.
e. both a and b
f. none of the above
Q:
The effect of cable television and videocassettes on the American film industry is
a. devastating for exhibitors but good for distributors.
b. that more independent films are released than studio films.
c. a slight decline in production but a significant reduction in average film budgets.
d. that studios continue to release fewer and fewer films.
e. negligible; the industry continues to operate the same way it always has.
f. None of the above is true.
Q:
The effect of cable television and videocassettes on feature film production is
a. the incorporation of music-video style in feature films.
b. a move away from producing blockbuster films in 70mm and multitrack sound.
c. that experimentation is discouraged by the intense competition for distribution.
d. that the slasher film continues to represent about half the domestic output of the American cinema.
e. negligible; the same types of films that have always been produced continue to be made in much the same way.
f. none of the above
Q:
All of the following are themes in Robert Altmans Nashville EXCEPT
a. the close connection between media and politics.
b. the detrimental effects of the blind pursuit of success.
c. the violent exploitation built into the American economic system.
d. the strange relationship between audience and performer.
e. Americas propensity for forgetting the unpleasant past.
f. None of the above is a theme in Nashville.
Q:
The film credited with bringing back the war film as a commercially viable Hollywood genre by becoming one of the highest grossing American movies of all time is
a. Apocalypse Now. d. Full Metal Jacket.
b. Good Morning, Vietnam. e. Coming Home.
c. Gardens of Stone. f. none of the above
Q:
Robert Altmans Nashville
a. is far more plot-driven than Altmans previous films.
b. is not about country-and-western music.
c. was first shown as an eight-hour miniseries on television.
d. earned ten million dollars, over four times its production costs but was still considered a failure by Hollywood.
e. represented Altmans move away from the use of overlapping sound.
f. none of the above
Q:
The war films of the 1980s
a. almost never dealt with the Vietnam war, instead focusing of World War II.
b. were almost always critical of the military.
c. were almost always pro-military.
d. were on the whole not commercially successful.
e. had no consistent ideological bias.
f. none of the above
Q:
In the 1980s, Robert Altman
a. made films that lost touch with the mainstream audience.
b. continued to make films that were great popular successes but disliked by critics.
c. made films that were highly praised by critics but were commercial failures.
d. retired from filmmaking only to return in the 1990s.
e. made the films that are generally considered to be his classic works.
f. none of the above
Q:
By 1985, the value of home video sales to the film industry was approximately
a. $1 million.
b. $50 million.
c. $500 million.
d. $1 billion.
e. $5 billion.
f. None of the above; there were no significant home video sales until after 1985.
Q:
The financial changes in the film industry during the 1970s resulted in the studios
a. making more films than at any time since the 1930s.
b. becoming financiers and distributors of films produced by others.
c. decreasing negative costs for the first time in decades.
d. backing away from aggressive marketing campaigns and decreasing distribution costs.
e. losing more money than at any time in their histories.
f. none of the above
Q:
Which of the following is NOT one of the new producer-distributor organizations that arose in the late 1970s and early 1980s because of changes in the industry?
a. Orion
b. Tri-Star
c. Kinney
d. Ladd Company
e. All of the above were new producer-distributor organizations.
f. None of the above were new producer-distributor organizations.
Q:
Which of the following filmmakers would NOT be considered one of the film-school generation of the 1970s?
a. Francis Ford Coppola
b. Martin Scorcese
c. Steven Speilberg
d. George Lucas
e. Brian De Palma
f. All of the above are film-school generation filmmakers.
Q:
Which of the following filmmakers did NOT receive training at a university graduate education program?
a. Francis Ford Coppola
b. Martin Scorcese
c. Peter Bogdonavich
d. George Lucas
e. Brian De Palma
f. all of the above
Q:
The films of the film-school generation directors
a. have never been commercially successful.
b. often lack a sophisticated visual sensibility.
c. were spontaneous improvisations that often lacked clear narrative structure.
d. avoided technological innovations.
e. are sometimes so painstakingly calculated for effect as to lack spontaneity.
f. all of the above
Q:
More recently, the film-school generation directors have
a. lapsed into repetition and self-parody.
b. become remarkably consistent in terms of the box-office returns on their films.
c. have almost all retired from filmmaking.
d. all made the best films of their careers in artistic terms even though the films havent always performed well at the box office.
e. all of the above
f. none of the above
Q:
Robert Altmans films are known for their
a. minimalist dialogue. d. consistency of genre.
b. solemn tone and serious subjects. e. manipulative formal construction.
c. widescreen composition. f. none of the above
Q:
The Robert Altman film about a young man who attempts to fly in the Houston Astrodome is
a. The Long Goodbye. d. McCabe and Mrs. Miller.
b. Brewster McCloud. e. Quintet.
c. Images. f. none of the above
Q:
The technique of flashing as seen in Altmans McCabe and Mrs. Miller refers to
a. exposing the film stock to light before shooting it to give it a tinted, old-fashioned look.
b. the use of quick one- and two-frame cuts to subliminally affect audience perception.
c. an extremely fast camera movement that can be used as a transition between scenes.
d. a postproduction effect that creates a fade-to-white.
e. moving the narrative back and forth in time very rapidly.
f. none of the above
Q:
Robert Altmans cinematic style includes
a. the use of overlapping dialogue.
b. the use of both wide-angle and telephoto lenses.
c. satirical humor.
d. a high density of visual information in the frame.
e. multiple intersecting plot lines.
f. all of the above
Q:
The Robert Altman film that uses the repeated dialogue Its OK with me to comment on American narcissism is
a. Thieves Like Us. d. Images.
b. California Split. e. The Long Goodbye.
c. Nashville. f. none of the above
Q:
All of the following are true of the Lions Gate sound system devised by Robert Altman EXCEPT
a. it gives each of the principle players in a scene his own microphone.
b. it is recorded on multiple, individually controllable tracks.
c. it uses wireless microphones.
d. it relies on Dolby noise reduction.
e. it was first used on California Split.
f. all of the above
Q:
The movie studio that was bought by financier Kirk Kerkorian in order to sell off their real estate holdings, which he reinvested in resort hotels, was
a. Paramount. d. 20th Century-Fox.
b. Columbia. e. MGM.
c. Warner Brothers. f. none of the above
Q:
In Hollywood economics, rentals refers to the
a. amount of money a film takes in at the box office.
b. percentage of the box-office receipts paid to the distributor.
c. percentage of the distribution fees paid to the producer.
d. amount of money retained by the exhibitor.
e. fees paid by the exhibitor to the producer.
f. none of the above
Q:
The Korean story based on the first text of pansori that has been the basis for fifteen Korean films, including the first Korean talkie and Im Kwon-taeks 2000 version, is
a. Chang, the Prostitute. d. Shiri.
b. The Jang-Sun Woo Variations. e. Mandala.
c. The Tale of Chunhyang. f. none of the above
Q:
The film industry of the Philippines
a. did not exist until the 1960s.
b. specialized in the production of documentaries and educational films.
c. was known for its production of art films in the 1960s and 1970s.
d. was large but specialized in films for low-brow tastes.
e. was very small but produced a steady series of locally successful films.
f. none of the above
Q:
Lino Brocka
a. was the leading director of exploitation films in the Philippines, eventually partnering with American International Pictures.
b. started a stylistically inventive Philippine new wave.
c. made films that were popular domestically but received little recognition internationally.
d. made no more feature films after his groundbreaking Manilla in the Claws of Neon Signs.
e. produced the first feature films in the Philippines during the1940s and 1950s.
f. none of the above
Q:
During the 1980s, the Philippine film industry
a. collapsed in the wake of political corruption and scandal.
b. abandoned the censorship of feature films.
c. curtailed the production of bombas.
d. produced no films that garnered significant international attention.
e. ranked among the top ten in the world in terms of output.
f. none of the above
Q:
Gimme Shelter and Mad Dogs & Englishmen are both examples of
a. hyper-violent youth culture films of the 1960s.
b. rock documentaries.
c. Arthur Penn films after Bonnie and Clyde.
d. Sam Peckinpah films after The Wild Bunch.
e. Kidpix.
f. none of the above