Q&A Hero

Q: Werner Herzog a. studied at the German film school and began making feature films immediately upon graduation. b. has always worked in the mode of the melodramatic, feature-length fiction film. c. makes essential materialistic films, shunning any form of spirituality or metaphysics. d. employs conventional narratives as a means of exploring political power in postwar Germany. e. financed his earliest films himself without the help of any German government agencies. f. all of the above

Q: All of the following are true of Aguirre, the Wrath of God EXCEPT a. it was directed by Werner Herzog. b. it was shot on location in the jungles of Brazil and Peru. c. it is about the impossibility of bringing civilization to the wilderness. d. it is simultaneously about Spanish conquistadors, Nazi Germany, and America in Vietnam. e. it stars Klaus Kinski, who would become Herzogs regular leading actor. f. All of the above are true.

Q: Jos Mara Garca Excudero was a. the director general of cinema in fascist Spain who liberalized state production subsidies, laying the groundwork for what he dubbed the New Spanish Cinema. b. the founder of the IIEC film school in 1947. c. a director of social satires who sponsored the Salamanca Conversations, Spains national film symposium calling for a move to more realistic films. d. the first important director to emerge from the New Spanish Cinema. e. the founder and owner of CIFESA, which oversaw all film production in Spain under Franco. f. none of the above

Q: Which of the following directors belongs to the first generation of the New Spanish Cinema? a. Pilar Mir. d. Jos Juan Bigas Luna. b. Carlos Saura. e. Guillarmo del Toro. c. Pedro Almodvar. f. none of the above

Q: Director general of cinematography in Spain, Pilar Mir a. was never a filmmaker but was put in charge of the Spanish film industry after Francos death. b. enacted a policy under which the government would help subsidize all quality producers and prestige directors. c. set back the development of Spanish cinema with policies that brought back the censorship of the Franco era. d. created policies that ensured that all films would be privately financed and distributed. e. tried to suppress the films of Pedro Almodvar. f. none of the above

Q: The Oberhausen Film Festival of 1962 is significant because a. it showed the first films of the New German cinema. b. it represented a reconciliation between the East and West German film industries. c. it celebrated the remarkable success of the German film industry in the late 1950s. d. it introduced future directors Werner Herzog, Rainer Fassbinder, and Wim Wenders. e. it announced the opening of a German film school at Oberhausen. f. none of the above

Q: The Kuratorium was a. a funding source for young German filmmakers in the 1960s. b. the East German film school founded in the late 1950s. c. the distribution company that handled the films of the New German cinema. d. the annual festival and symposium of German cinema, which started in 1962. e. the East German government-controlled production and distribution organization. f. none of the above

Q: The job of Filmverlag der Autoren was a. to fund the production of young German cinema. b. to cooperatively distribute the films of its owner/members. c. to control German film education in the postwar period. d. to subsidize the opening of new movie theaters. e. to produce films for German television. f. none of the above

Q: The New German cinema a. revealed a plainness of visual style and a straightforward clarity of argument. b. shows a generation acutely aware of its Nazi past. c. had only a small audience in Germany but was popular internationally. d. was almost entirely privately funded. e. was produced by a group of artists with remarkable stylistic and thematic similarities. f. none of the above

Q: The filmmaker who was the original spokesman for the New German cinema and so was responsible for the establishment of the Kuratorium and the national film schools is a. Werner Herzog. d. Wim Wenders. b. Rainer Fassbinder. e. Alexander Kluge. c. Volker Schlndorff. f. none of the above

Q: Historically, the first film of the New German cinema is considered to be a. Alexander Kluges The Artists under the Big Top: Disoriented. b. Rainer Fassbinders Katzelmacher. c. Werner Herzogs Even Dwarves Started Small. d. Volker Schlndorffs Young Trless. e. Margarethe von Trottas The Second Awakening of Christa Klage. f. none of the above

Q: The Frauenfilme were a. films about the reconstruction of postwar Germany. b. homeland films about German identity and geography that enjoyed a renaissance under das neue Kino. c. films by women, which became numerous during ads neue Kino. d. films that dealt with the struggles of new immigrants to adapt to life in Germany. e. graphic horror films inspired by both Expressionism and the Italian giallo. f. none of the above

Q: The Buuel film in which a group of wealthy people gathers for a dinner party only to find themselves unable to leave the parlor where they eventually disintegrate into a state of savagery is a. Viridiana. b. The Exterminating Angel. c. l. d. Diary of a Chambermaid. e. The Discreet Charm of the Bourgeoisie. f. none of the above

Q: Rainer Fassbinder a. was influenced by the melodramatic films of 1950s Hollywood director Douglas Sirk. b. was not very prolific, directing only sporadically throughout the 1970s. c. was a marginal figure in the New German cinema. d. began his career as an assistant to Volker Schlndorff. e. made films with virtually no plots and only the most abstract characterizations. f. none of the above

Q: In Buuels Belle du jour a. two vagrants travel from Paris to a shrine in Spain reenacting the history of Christianity along the way. b. a saint sits on top of a pillar dispensing wisdom until the devil sends him to New York City on a jet-propelled coffin. c. a woman tries to fulfill her masochistic desires by working at a brothel, which is represented as a site of freedom. d. a young woman is corrupted by a decadent aristocrat whose death she eventually hastens. e. a woman suspects a psychotic sadist of murder and has an affair with him in order to collect evidence to use against him. f. none of the above

Q: The central point of parody in The Discreet Charm of the Bourgeoisie is a. religious beliefs among the wealthy. b. traditional gender roles. c. the ethos of conformity and assimilation among the middle class. d. the fundamental mechanics of narrative cinema. e. the materialism of French society. f. none of the above

Q: Luis Buuel a. made somber films that, while intellectually brilliant, often lacked a sense of humor. b. is noted as a director with an elaborate and distinctive sense of visual style. c. changed his political ideas toward the end of his career, embracing religion and the social order. d. always worked independently, setting his own pace and schedule. e. is considered the most experimental and anarchistic filmmaker in the history of narrative cinema. f. all of the above

Q: Under the fascist rule of Francisco Franco, the Spanish cinema a. was almost completely unknown outside its own borders. b. produced an official film version of the Spanish Civil War written by Franco himself. c. was controlled by a private monopoly. d. was state supported and highly paternalistic. e. generally banned from exhibition the films of the Italian neorealist movement. f. all of the above

Q: UNINCI a. was the organization that banned Luis Buuel from ever working in his native Spain. b. was the Spanish film school. c. was the private monopoly that controlled film production in Spain during Francos reign. d. was the independent production company that led to the liberalization of film production in Spain. e. was the Spanish government censorship bureau under Franco. f. none of the above

Q: Bergman was able to make forty feature films with complete independence because a. his work was extremely popular at home and abroad. b. his work was not successful at the box office, but he was revered by Swedish critics. c. the structure of the Swedish film industry assured funding for all approved projects. d. although his films had big budgets they were popular enough in the United States to always make a profit. e. he was independently wealthy and financed most of his films himself. f. none of the above

Q: Finland a. is the only Scandinavian country whose film industry is not state subsidized. b. produces only three or four feature films a year. c. continues to be dominated by the distribution/exhibition company Finnkino. d. has produced no filmmakers of international significance. e. maintains a 25 percent share of the domestic box office for Finnish films. f. none of the above

Q: The Danish film industry a. has a tradition that extends back to before World War I. b. operates without significant government support. c. produces less than five features every year. d. has never enjoyed more than a 10 percent share of the domestic box office. e. has had very little influence on international cinema. f. none of the above

Q: All of the following are ideas set forth in Dogme95s The Vow of Chastity EXCEPT a. the director must be credited last. b. no props may be brought to a location. c. the film must be in color. d. no musical score may be added to a scene. e. genre movies are forbidden. f. All of the above are Dogme95 rules.

Q: The Dogme95 movement a. was founded by a group of Swedish filmmakers to reinvigorate the industry. b. awards certificates to films that meet its rigorous criteria. c. has had no real economic impact on the film industry in its native country. d. has failed to produce any box-office hits but is internationally influential. e. dissolved after just a few years with the groups last films made in 1999. f. none of the above

Q: The Danish governments policies pertaining to film production a. have created a decentralized industry with numerous institutions and companies operating separately. b. have completely ignored production in favor of subsidizing distribution and exhibition. c. have boosted production to the degree that Danish films had nearly a 50 percent share of the domestic market in 2000. d. are nonexistent, as Denmark has moved away from government-subsidized cinema. e. are restricted to operating the National Film School and Danish Film Museum. f. none of the above

Q: Icelandic cinema a. is for all practical purposes nonexistent. b. has been producing films regularly since the silent era. c. has always operated without government subsidy. d. produces an average of six feature films a year. e. has never produced a major domestic box-office hit. f. none of the above

Q: Luis Buuels 1950 film Los Olvidados a. was Buuels first film produced in Spain since the 1930s. b. was the first film Buuel directed since 1932. c. was a popular comedy that made it possible for Buuel to make more serious films. d. was overlooked critically and commercially at the time of its release but is now considered a masterpiece. e. was photographed by the great Mexican cinematographer Gabriel Figueroa. f. none of the above

Q: Buuels Mexican films a. are few in number, because as soon as he enjoyed a bit of success he moved to France. b. are almost exclusively lightweight comedies and popular melodramas. c. reveal none of the surrealist influence that characterized his early films. d. are respectful of the traditions of the Catholic church. e. were never as popular domestically as they were in foreign markets. f. none of the above

Q: Buuels Viridiana a. became the first Spanish film to win the Palme dOr at the Cannes Film Festival. b. represents Buuels temporary re-embrace of Catholic church doctrine. c. is about a woman who transforms those around her through her kindness and devotion. d. shows poor beggars to be morally superior to the nuns in a nearby convent. e. was denied permission to shoot in fascist Spain because of its antifascist message. f. all of the above

Q: Swedish cinema a. has produced only a single filmmaker who produced notable works. b. is entirely privately financed though tax incentives, which makes such investments attractive. c. has grown into one of Europes largest film industries. d. produces on average less than ten films per year. e. is oriented toward export since the domestic market is so small. f. none of the above

Q: The Bergman film about a nurse and patient that collapses virtually every narrative convention of the cinema to suggest that both movies and individual identity are illusions is a. Scenes from a Marriage. d. Fanny and Alexander. b. Persona. e. Cries and Whispers. c. Through a Glass Darkly. f. none of the above

Q: All of the following are descriptive of Ingmar Bergman EXCEPT a. his primary cinematic influence was Carl Dreyer. b. throughout his career he was a great innovator of narrative form. c. his work shares the central themes of the great Scandinavian playwrights Ibsen and Strindberg. d. the outlook on the human condition in his films is profoundly pessimistic. e. religious and existential concerns remained consistent themes throughout his career. f. all of the above

Q: The giallo is a type of a. Italian horror film. d. Spanish musical. b. Italian western. e. Scandinavian drama. c. Spanish crime film. f. none of the above

Q: The former cinematographer who directed Black Sabbath, the film that would set the style for subsequent Italian horror films, was a. Dario Argento. d. Riccardo Freda. b. Mario Bava. e. Sergio Leone. c. Lucio Fulci. f. none of the above

Q: All of the following are descriptive of Dario Argentos cinematic style EXCEPT a. a constantly mobile camera. b. bizarre, grotesque special effects. c. tightly constructed narratives. d. a saturated color palette. e. abstract horror. f. None of the above are descriptive of Argentos work.

Q: The new style of Italian horror film that emerged in the 1980s a. was led by Mario Bava, who made several of the best films of the decade. b. was less graphically violent than its predecessors. c. focused primarily on vampires and Frankenstein-style monsters. d. is credited to the repulsive yet poetic zombie films of Lucio Fulci. e. was never as popular with audiences as the earlier generation of horror films. f. none of the above

Q: The Italian film industry today a. produces about twenty feature films a year. b. no longer produces the horror films that were once an industry staple. c. is structured so as to make independent production nearly impossible. d. accounts for less than 10 percent of Italys domestic box-office earnings. e. is dominated by two gigantic distribution companies. f. all of the above

Q: The French and Italian film renaissances of the 1960s a. turned cinematic expression away from narrative and toward philosophy, psychology, and social criticism. b. produced only a handful of films that might be considered important to the history of the medium. c. never were commercially significant even if they had great influence on future generations of filmmakers. d. rarely used color or widescreen, preferring instead black-and-white and academy ratio. e. were the work of a very small number of filmmakers whose careers faded in the 1970s. f. all of the above

Q: The wide-angle lens a. has a relatively long focal length. b. is used to shoot relatively large subjects at short range. c. creates a narrowed depth of field. d. is rarely used in narrative filmmaking. e. ranges from 50 to 100mm in focal length. f. all of the above

Q: The zoom lens a. made optical tracking possible. b. is a variable focal-length lens. c. first came into widespread use in the 1960s. d. can be used to search a scene for a point of focus. e. allows the filmmaker to frame close-ups, medium shots, and long shots in a single roll of the camera. f. all of the above

Q: Which of the following films is notable for its innovative use of the zoom lens? a. Kubricks Barry Lyndon d. Antonionis LAvventura b. Welless Touch of Evil e. Fellinis La dolce vita c. Renoirs Rules of the Game f. none of the above

Q: The effect of the development of the zoom lens on the cinema has been a. negligible since it is used so little. b. to stimulate a new approach to subjective involvement and psychological affect. c. to make editing both more important and more dynamic. d. to almost completely replace the conventional tracking shot, which it closely resembles. e. to make dialogue more conventional and more important. f. none of the above

Q: The film that first brought Ingmar Bergman to international prominence was a. Sawdust and Tinsel. d. Persona. b. Torment. e. Wild Strawberries. c. Smiles of a Summer Night. f. none of the above

Q: Bergmans Wild Strawberries a. is an allegorical film about a knight playing chess with Death that concludes with the famous Dance of Death sequence. b. is based on a thirteenth-century ballad about a young girl who is raped and whose father then takes revenge. c. was his first film to win international acclaim, introducing Bergman as one of the worlds great filmmakers. d. is a lyrical film that moves between dreams, memories, and lived reality. e. was his first collaboration with cinematographer Sven Nykvist. f. none of the above

Q: The dominant theme of Bergmans trilogy of films that includes Winter Light and The Silence is a. the redemptive power of faith in a brutal world. b. the idea that human communication can bridge the spiritual divisions between people. c. the rejection of spirituality leading to a breakdown in human communication. d. the idea that God is in everyone and acceptance of divinity can lead to happiness. e. the problems of existing in a godless universe. f. none of the above

Q: The one major director of the Italian spaghetti western genre to go on to international prestige and influence was a. Maurizio Nichetti. d. Francesco Rossi. b. Dario Argento. e. Liliana Cavani. c. Marco Ferreri. f. none of the above

Q: The Italian director whose epical religious films based on myth and allegory regularly attacked the Catholic Church and bourgeois culture was a. Michelangelo Antonioni. d. Marco Ferreri. b. Ermanno Olmi. e. Franceso Rosi. c. Bernardo Bertolucci. f. none of the above

Q: Pier Paolo Passolini a. was an important poet and essayist as well as being a director. b. was incorrectly accused of being a Communist and was blacklisted. c. was one of the few Italian filmmakers whose work shows no neorealist influence. d. always worked with original story material and never made literary adaptations. e. stopped making films because he lost the support of the Italian industry. f. none of the above

Q: Which of the following is the best description of a film by Bernardo Bertolucci? a. mythic, allegorical, and often based on classic literary sources b. intricate visual and narrative structure and expressionistic use of color c. plotless examinations of alienation in the modern world d. intensely researched semidocumentary recreations of historical events e. neorealist in its use of nonprofessional actors and loose narrative structures f. none of the above

Q: The director whose early critiques of bourgeois values (Fist in the Pocket and China Is Near) softened somewhat with his later literary adaptations (Devil in the Flesh and Pirandellos Henry IV) is a. Bernardo Bertolucci. d. Francesco Rosi. b. Ettore Scola. e. Gillo Pontecorvo. c. Marco Bellocchio. f. none of the above

Q: The postwar Italian director who not only writes all his own films but photographs them as well is a. Francesco Rosi. d. Vittorio De Seta. b. Bernardo Bertolucci. e. Pier Paolo Passolini. c. Elio Petri. f. none of the above

Q: Gillo Pontecorvos The Battle of Algiers a. is a film that questions Italys role in World War II. b. is an abstract, experimental feature that fragments time and space. c. was banned by the Italian government and never shown. d. led to a long, successful feature filmmaking career for Pontecorvo. e. is a documentary reconstruction of historical events. f. none of the above

Q: The films of Marco Ferreri a. are influenced by neorealism. b. are Marxist polemics comparable to the work of Godard. c. are erotic melodramas that often explore the fascist mind. d. are primarily historical films based on classic literary sources. e. are Italian exploitation films. f. none of the above

Q: The Taviani Brothers a. directed Good Morning, Babylon about Italian brothers working on Griffiths Intolerance. b. have enjoyed popular success in Italy but not on the international film festival circuit. c. directed Love and Anarchy, which explores sex and politics in fascist Italy. d. have never made films with a political perspective. e. are known for their intelligent comedies like We All Loved Each Other So Much. f. none of the above

Q: The films of Lina Wertmller a. are Marxist critiques of the Catholic church and the Italian government. b. often anger feminist and liberal critics with their seeming embrace of patriarchal fascism. c. are primarily romantic comedies. d. have never enjoyed international success. e. all have single-word titles. f. none of the above

Q: The Spanish film industry a. historically commands greater than a 50 percent market share of the domestic box office. b. generally produces about twenty feature films a year. c. relies heavily on public and private television stations for production financing. d. was once vibrant but cooled off substantially during the 1990s. e. produces primarily comedies, whereas it makes very few thrillers or horror films. f. none of the above

Q: Das neue Kino (the New German cinema) is related to other European modernist film movements through a. the fact that most of its directors began their careers in film criticism. b. its emphasis on tight, clear narrative construction. c. its reliance on government subsidy. d. its Marxist ideological perspective. e. the fact that its first films came out concurrently with Breathless and LAvventura. f. all of the above

Q: Which of the following directors is NOT one of the new generation of Italian comic filmmakers? a. Nanni Moretti b. Maurizio Nichetti c. Liliana Cavani d. Carlo Verdone e. Roberto Benigni f. All of the above are contemporary comic filmmakers.

Q: The films of German reconstruction produced in the years after World War II were called a. Heimatfilme. d. Autorenfilm. b. junger deutcher film. e. Trmmerfilme. c. das neue Kino. f. none of the above

Q: Michelangelo Antonioni a. never worked in the United States. b. retired from making films in the 1970s. c. had his first international commercial hit with Blow-Up. d. has worked in a variety of different genres as well as with a range of themes. e. generally avoided political subject matter. f. all of the above

Q: The peplum film is a. an Italian horror film. d. an Italian mythological epic. b. a Scandinavian action film. e. a genre of the New Spanish Cinema. c. an Italian western. f. none of the above

Q: All of the following are characteristics of Antonionis film style EXCEPT a. the theme of the individuals alienation from his environment. b. a focus on the internal psychological forces that underlie behavior. c. a subordination of plot to character development. d. extensive and expressive use of music. e. the virtual elimination of logical narrative transitions. f. All of the above are characteristic of Antonionis style.

Q: All of the following are stylistic characteristics of the spaghetti western EXCEPT a. a Mexican setting. d. shocking violence. b. baroque framing. e. an all Italian cast. c. an electronically synthesized score. f. all of the above

Q: Which one of the following is the Italian postwar filmmaker whose work most reflects the neorealist influence, particularly his early feature films like Il Posto, which feature little plot, real locations, and nonprofessional actors? a. Federico Fellini d. Ettore Scola b. Bernardo Bertolucci e. Ermanno Olmi c. Michelangelo Antonioni f. None of the above

Q: Quebec a. has produced only one significant filmmaker, Denys Arcand. b. is only noted for producing documentaries and experimental films. c. has never produced a film that became a crossover hit in English-speaking Canada. d. has virtually no industry geared toward feature film production. e. both b and d f. none of the above

Q: The highest grossing Qubcois film of all time in the international market is a. Exotica. b. Les Boys. c. Bon Cop, Bad Cop. d. Jesus of Montreal. e. The Decline of the American Empire. f. none of the above

Q: Le cinma qubcois.was a. a film movement that came to prominence in the 1990s. b. a style of filmmaking that produced several international commercial successes. c. oriented toward the production of period dramas and explorations of Quebecs history. d. a movement of experimental, polemical films shot in 16mm and Hi-8 video. e. a film directed by Denys Arcand. f. none of the above

Q: Hollywood films are shot in Canada for all of the following reasons EXCEPT a. Hollywood is fighting for a larger share of the Canadian box office. b. Canadian crews are highly skilled and are paid lower wages. c. Canadian government tax breaks and subsidies make production much less expensive. d. Canada offers a wide variety of locations and often stands in for New York or Europe. e. there are excellent production facilities that are in the same time zones as New York and Los Angeles. f. all of the above

Q: Which of the following film industries experienced a significant decline in the 1950s? a. Great Britain d. United States b. Italy e. all of the above c. France f. none of the above

Q: Federico Fellini began his career in the cinema as a. a screenwriter. d. an editor. b. a director. e. an actor. c. a cinematographer. f. none of the above

Q: The film that marked Fellinis break with neorealism, telling an allegorical story of a circus strongman who abuses a young woman, was a. I vitelloni. d. . b. La strada. e. Fellini Satyricon. c. La dolce vita. f. none of the above

Q: Fellinis production team who worked with him throughout his career included all of the following EXCEPT a. cinematographer Otello Martelli. b. composer Nino Rota. c. screenwriter Ennio Flaiano. d. producer Carlo Di Palma. e. actress Giulietta Masina. f. All of the above worked with him throughout his career.

Q: The Fellini film, filled with fantasies and flashbacks, that tells the story of a directors struggles to make a film while suffering a creative block, is a. La dolce vita. d. . b. La strada. e. Amarcord. c. Fellini Roma. f. none of the above

Q: Fellinis work is characterized by a. tightly structured narratives. b. the recurring theme of alienation from the modern world. c. a move away from the two principle traditions of the Italian cinemathe epic and the humanist. d. a highly realistic representation of time and space. e. a thematic concern with the mystery of identity. f. all of the above

Q: Michelangelo Antonioni a. attended the Centro Sperimentale. b. worked as a critic and a screenwriter before becoming a director. c. first directed neorealist documentaries. d. broke away from neorealism with his first feature film. e. focused his early features on the problems of alienation among the middle class. f. all of the above

Q: Antonionis LAvventura a. equates film time and real time as every scene is the same duration it would be in reality. b. uses expressive editing to deconstruct time, showing the alienation of the characters. c. was his first film in color, which he used symbolically. d. ends with the discovery of the woman who disappeared earlier in the film. e. uses the Hitchcockian technique of telling the audience more about the mystery than the characters in the story know about it. f. none of the above

Q: The Antonioni film about alienation and industrialization that represents the first impressionist/expressionist use of color in the history of cinema is a. LAvventura. d. LEclisse (The Eclipse). b. Il deserto rosso (The Red Desert). e. Blow-Up. c. La Notte (The Night). f. none of the above

Q: David Cronenberg a. began his career making allegorical horror films that were both intelligent and gory. b. has always worked without the support of the CFDC. c. stopped working in Canada after the success of his first films. d. has only made a handful of films, but each one has been both expensive and popular. e. has worked in a wide variety of genres. f. all of the above

Q: The filmmaker who made several low-budget independent dramas before emerging on the international stage with The Sweet Hereafter is a. David Cronenberg. d. Denys Arcand. b. Atom Egoyan. e. Ted Kotcheff. c. Guy Maddin. f. none of the above

Q: The best description of the films of Guy Maddin would be a. low-budget dramas about family dysfunction and individual alienation. b. graphically grotesque yet intelligent horror films. c. experimental works that recall the style of German Expressionism and Soviet-style montage. d. stories about the French-speaking Qubcois culture. e. social realism with a distinct political perspective. f. none of the above