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Q:
More women than men hold full professorships in American colleges and universities.
Q:
Topic or question should come from class business. See pages 7-8 of this manual for details on this activity.
Q:
Girls are more likely than boys to go to college.
Q:
Socially constructed
Q:
College males report studying more than college females do.
Q:
Inclusive language
Q:
Title IX
Q:
When non-U.S. cultures are examined, it becomes clear that there are innate sex differences in math and science ability.
Q:
Because our perspectives are limited by our social positions (e.g., sex, class, race, sexual orientation), we can never fully understand the lives of people who differ from us.
Q:
In a course on mass media history, the professor shows the film “Empire of the Air: The Men Who Made Radio,” which ascribes the entire development of radio to three men: David Sarnoff, Lee DeForest, and Edwin Armstrong, ignoring the contributions of women and minorities to the development of the medium. This is an example of what?
A. gender stereotyped curriculum
B. invisible hand discrimination
C. gender stereotyped discrimination
D. hidden discrimination
E. none of the above
Q:
Carolyn is a brilliant, but strict teacher who smiles rarely and is a tough grader. During a review, her department chair tells her she should warm up to the students and offer them more emotional support. Which of the following terms best describes the department chair’s evaluation of how Carolyn should act?
A. hidden curriculum
B. hidden hand discrimination
C. invisible hand discrimination
D. invisible curriculum
E. none of the above
Q:
The Industrial Revolution transformed social views of the essence of masculinity from _____________ to ______________. A. courage to strength B. physical strength to ability to earn an income C. intelligence to physical strength D. ambition to attractiveness E. none of the above
Q:
Which of the following is true about Title IX?
A. All U.S. schools must abide by the rules of Title IX.
B. Title IX has led to a decrease in athletic programs for men.
C. Title IX bans sex discrimination only in athletics.
D. Most Americans approve of Title IX.
E. Because of Title IX, male and female student athletes receive an equal number of scholarship dollars.
Q:
Wood argues that communication is the fulcrum for change because A. change comes through communication. B. communication allows us to identify and challenge cultural views. C. communication allows us to define alternatives and persuade others. D. individuals may be powerful social agents for change through communication. E. All of the above are valid reasons.
Q:
Which of the following is a challenge gender-nonconforming students often face?
A. The binary norm that force students into male or female categories.
B. Pressure to be self-reliant and not ask questions.
C. Pressure to always look good and appear put-together without seeming to put any effort into doing so.
D. Be attractive to men.
E. All of the above.
Q:
Heterosexual men and women report being happier and more satisfied with their relationships when their partners A. define themselves as feminists. B. define themselves as nonfeminists. C. have the same attitudes toward feminism as they do. D. are unconcerned about feminism. E. There is no research about relationship satisfaction and feminisms.
Q:
Topic or question should by authored by a student. See pages 7-8 of this manual for details on this activity.
True/False
Q:
If we break the word “feminism” down to its roots, femme and –ism, what does it literally mean?
A. in favor of women
B. superiority of women
C. a political position about women
D. a cultural position about women
E. equality for women
Q:
On average, males in the United States lag behind their female peers in academics.
Q:
What percentage of seats in the U.S. Senate and House of Representatives are held by women as of 2012? A. 50% B. 30% C. 10% D. 25% E. 17%
Q:
Boys are more likely than girls to complete high school.
Q:
Being feminist is in conflict with being feminine.
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:
The Cabinet of Caligari was a commercial success that helped popularize German Expressionism in the early 1920s.
Q:
The French Impressionist filmmakers made films that were focused on emotions, perceptions, experience, and moods.
Q:
Among the major factors that contributed to the decline of the French New Wave in the late 1950s was the A. spread of television. B. resentment of the French government. C. rise of Neorealism. D. failure of directors to help one another absorb financial risk.
Q:
Which of the following does NOT accurately characterize the state of the American film industry during the period from World War II to about 1970? A. The rise of television caused audiences not go to the movies as much. B. Despite challenges, the Hollywood studio system remained firmly in place. C. New technologies, such as widescreen and stereophonic sound, appeared. D. Few films yielded huge profits and the film industry declined.
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 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:
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:
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:
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:
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:
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.