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After the Bolsheviks gained power in Russia in late 1917, their first move regarding the Russian cinema was to:
A) Abolish foreign imports.
B) Create a new regulatory body to oversee the cinema.
C) Nationalize the film industry.
D) Subsidize the construction of permanent movie theaters.
Surviving scenes from Lev Kuleshov's 1918 film, Engineer Prite's Project, suggest that:
A) It was completely assembled out of footage from existing American and German films.
B) Kuleshov understood the principles of "intellectual montage" years before Eisenstein first applied the idea to his own work.
C) In the years immediately following the revolution, even "revolutionary" Russian filmmakers continued to stage action and edit shots in the manner of the early Russian directors.
D) Kuleshov employed Hollywood-style continuity guidelines.
Most of the films produced under the auspices of the Soviet state in 1919 were:
A) Historical epics and literary adaptations.
B) Military training films.
C) Short newsreels and propaganda films.
D) Topical comedies.
With film stock extremely scarce in the Soviet Union during the War Communism years, the students in Lev Kuleshov's workshop at the State Film School prepared for future filmmaking efforts in each of the following ways, except:
A) Reediting old films.
B) Writing elaborately detailed continuity scripts.
C) Shooting and assembling footage in short editing experiments.
D) Putting on plays that were staged as much like films as possible.
The "Kuleshov effect" is based on the use of editing to:
A) Lead the spectator to infer spatial or temporal continuity from the shots of separate elements.
B) Create a new idea or argumentative position out of the juxtaposition of two completely dissimilar shots.
C) Smooth over the potential rupture for the spectator caused by a shift in time or location.
D) Replicate or suggest the mental activity of characters.
Which European city was the main conduit for films going into and out of the Soviet Union during the 1920s?
In 1923, what was the percentage of films in Soviet distribution that were foreign- made?
A) 1 percent
B) 30 percent
C) 65 percent
D) 99 percent
The first feature film completed by the members of the Kuleshov workshop was:
A) The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks
C) Man with a Movie Camera
D) Old and New
Sovkino, a distribution firm created by the Soviet government in 1925, was charged with the responsibility of opening new theaters in cities and sending portable projection outfits to the countryside. The company paid for these operations largely by:
A) Importing and distributing foreign films.
B) Investing in overseas stock markets.
C) Exporting Soviet-made films.
D) Obtaining government subsidies.
For the artist working within the movement of Constructivism, art was:
A) To be wholly rejected in favor of political engagement.
B) Meant to fulfill a social function.
C) Intended to reproduce physical reality as closely as possible.
D) A source of enduring higher truths.
The Constructivists often compared the work of art to a:
12. In the stage productions of the influential Constructivist director Vsevolod Meyerhold, an actor's performance was supposed to be founded upon:
A) Carefully controlled physical movements.
B) Insults and even violent actions directed at the audience.
C) An aesthetic of distancing oneself from the moral or social implications of the
D) The expression of inner emotions.
13. Which of the following is not true of the Montage film Strike?
A) It was set and shot in a real factory.
B) It was the first major film of the Montage movement.
C) It was the first feature film directed by Sergei Eisenstein.
D) It was made to commemorate the tenth anniversary of the Russian Revolution.
14. Which Soviet director and theorist admired the succinct storytelling of American films and thought of Montage chiefly as techniques of editing for clarity and emotional effects?
A) Lev Kuleshov
B) Alexander Dovzhenko
C) Sergei Eisenstein
D) Dziga V ertov
15. According to Sergei Eisenstein's ideas on the "montage of attractions," a single shot should be thought of as akin to:
A) An atom, capable of existing independently or as a component of a larger entity.
B) A cell, formed by the collision of two elements in opposition to each other.
C) A word, which communicates meaning only when strung together with other
words to form a sentence.
D) A brick, which links together with other bricks to form a structure.
16. The source of causes and effects in a Montage film narrative was often:
A) A natural disaster or catastrophe.
B) The hero's quest for self-actualization.
C) Social forces.
D) Supernatural elements.
17. Using "overlapping editing" within a scene or sequence means that:
A) The editing rhythm is accelerating, to the point where shots are only a few frames long.
B) The depicted event is taking less time than it would in reality.
C) The same space is being shown from the same camera position in successive
shots, but the mise-en-scene has been changed.
D) The time a depicted action takes on the screen is noticeably expanding.
18. In the hands of Soviet Montage filmmakers, very rapid cutting within a film often:
A) Implies that human actions are socially determined.
B) Enhances the effect of explosive or violent action.
C) Conveys characters' subjective perceptions.
D) Suggests the relentlessness of class struggle.
19. In the plate-smashing scene from Potemkin, director Sergei Eisenstein creates a contradictory space by:
A) Mismatching a character's position from shot to shot.
B) Cutting in footage from an early, "classic" Russian film.
C) Originally shooting the scene in continuity style, then assembling the scene's
shots in purely random order.
D) Using temporal ellipsis to elongate the primary action was used for lyrical sequences.
20. In Soviet Montage filmmaking, intercutting was often used to:
A) Stage last-minute rescue scenes.
B) Break a space down into its component parts.
C) Link two actions for the sake of a thematic point.
D) Create parallels between story lines.
21. Which of the following was a common approach to lighting actors in Montage films?
A) Character appears against soft-focus background; fill and backlighting define the outline of the figure.
B) Character appears against black background; the front of the figure's face is dark while the sides are strongly lit.
C) Character appears against solid background; strong frontal lighting makes the figure appear "squashed" or on the same plane with the background.
D) Character appears in the foreground in silhouette; background is lit according to the three-point lighting system.
22. Montage films came under attack within the Soviet Union starting around 1927 because:
A) They were judged to be too formally sophisticated for the uneducated peasant population.
B) They were too imitative of American cinema.
C) They were losing money overseas.
D) They were critical of Stalin's economic policies.
23. Which of the following was not an objective set down for the Soviet film industry under the First Five-Year Plan?
A) To tailor films strictly to the needs of workers and peasants.
B) To increase film exportation to non-western markets.
C) To increase the number of movies produced.
D) To build equipment factories to supply all the industry's needs.
24. The February Revolution (of 1917) had relatively little effect on the Russian film industry.
25. "Agit-vehicles" were films designed to ease the stars of pre-Revolution Russian cinema into roles in films that championed Bolshevik principles.
26. Lenin's New Economic Policy, implemented in 1921, called for the limited and temporary reintroduction of private ownership and capitalist-style dealings.
27. After the Bolshevik Revolution, most Russian artists supported the new government.
28. Most non-Montage Soviet films of the silent period tended to be topical comedies or conventional literary adaptations.
29. Because of the primacy of editing in the art of Soviet Montage cinema, Montage directors paid little attention to the camera and rarely experimented with unconventional framings and angles.
30. Of the French Impressionist, German Expressionist and Soviet Montage styles, only the Soviet Montage style lasted into the sound era.
31. Warner Bros. initially considered converting to sound production as a way to:
A) Compensate for the lack of visual interest in its low-budget product.
B) Respond to audience demand for talking pictures.
C) Manufacture a pretense for terminating the contracts of high-priced foreign-born
D) Create a cost-cutting substitute for live entertainment on film programs.
32. Don Juan, the feature on the program at the first public Vitaphone screening in August 1926, had:
A) Live orchestral accompaniment but no recorded soundtrack.
B) Recorded music but no dialogue.
C) Recorded dialogue that was badly out of synchronization with the picture.
D) Four scenes in which the star sang and even spoke briefly.
33. Which studio, having lost out to Warner Bros. on signing big-name theatrical talent, exploited sound technology via newsreels?
C) First National
34. In the early 1930s, many American films were released in both sound and silent versions because:
A) Silent versions were exported to non-English-speaking markets.
B) Roughly half of the American movie audience continued to prefer silent films, at
least for a while.
C) If audiences did not like the sound of the lead actors' voices in a film, that film could be re-released as a silent.
D) Many small movie theaters could not afford to buy sound equipment, especially with the onset of the Great Depression.
35. If music was to be heard during a scene in a very early sound film:
A) The entire piece had to start and finish within a single unbroken shot.
B) Actors had to remain silent throughout the length of the piece.
C) The instruments had to play near the set as the scene was filmed.
D) It could be recorded onto a disc but not onto the filmstrip itself.
36. Because the microphones for early sound recording were insensitive, studios often insisted that:
A) All diegetic sound, effects and dialogue, be post-dubbed.
B) Actors take diction lessons and speak slowly and distinctly.
C) Dialogue be cut from scenes unless absolutely essential for spectator
D) Lengthy conversations be rendered through intertitles.
37. By 1929, many film producers decided that the best way to preserve foreign markets and the best solution to the problems caused by the language barrier was to:
A) Reshoot additional versions of each film, with the actors speaking different languages in each.
B) Eliminate dialogue in foreign versions and substitute intertitles.
C) Dub a new soundtrack in a foreign language for each film.
D) Show films abroad with no translation at all.
38. For several years starting in 1929, Paramount turned out dozens of films in as many as fourteen languages at their studio in:
39. The largest producing companies in Hollywood acted in concert during the conversion to sound because, since each firm's theaters had to show other companies' films, the lack of a common standard would hurt business.
40. Multi-camera shooting evolved because it was technically easier to observe the rules of the continuity editing system than to shoot all the action of a scene in a lengthy take with a single camera.
41. In the years immediately following the transition to sound moviemaking, American filmmakers avoided the constraints of multi-camera shooting by filming much of the footage silent and dubbing in sound later.
42. The most successful early sound films on the domestic German market were musicals.
43. Which of the following companies was not one of the Little Three?
A) United Artists
44. Paramount declared bankruptcy in 1933 because of money owed on:
A) The construction of and overhead for its studio in Joinville, France.
B) The remainder of Adolph Zukor's contract, which Paramount's board of directors
bought out in the early 1930s.
C) The production of several large-budget flops starring Mae West. D) The mortgages of its theaters.
45. Which of the following statements is not true about Warner Bros. during the 1930s?
A) It was known for its European-style productions, many of which were directed by European émigrés.
B) In total assets it was as big as MGM.
C) It concentrated on creating popular genres and then mining them.
D) Its stable of popular actors worked in more films than those employed at the other
46. Which firm stayed afloat in the late 1930s due to its distribution of Walt Disney's animated films?
47. From 1930 to 1945, United Artists was known for specializing in all of the following types of films except:
A) Slapstick musicals
B) 'B' Westerns
C) Prestigious British imports
D) Independent productions from David O. Selznick and Samuel Goldwyn
48. Which of the following statements is not true of Yiddish filmmaking during the 1930s?
A) Production was halted by the outbreak of World War II.
B) Yiddish films centered on family crises and the clash between traditional values
and modern urban life.
C) The most successful Yiddish films were distributed by Big Five companies. D) Yiddish films feature frequent musical interludes.
49. Which of the following was not a tactic used by exhibitors to attract patrons during the Great Depression?
A) Double and triple features
B) Uniformed ushers
C) Prize giveaways
D) Food and beverages in the lobbies
50. Which composer's emphatic score for the movie King Kong (1933) was an influential early use of the symphonic approach?
A) Erik Satie
B) David Raksin
C) Bernard Herrmann
D) Max Steiner
51. For studio films during the classical Hollywood period, a scene in which characters ride in a car was typically:
A) Done using a traveling matte, or a composite special-effects process.
B) Done by filming the vehicle in a studio while the background landscape passes on
a screen behind the actors.
C) Shot on location using a camera mount fixed onto the hood of a specially constructed vehicle.
D) Filmed by a camera operator seated in the vehicle's back seat.
52. The "soft" cinematography style became more pervasive during the 1930s partly because:
A) Of the innovations devised by cinematographer Gregg Toland for the film Citizen Kane.
B) Of the introduction of filters and glass masks.
C) Of the introduction of orthochromatic film stock.
D) Studio laboratories typically processed film to make it look grayer and softer.
53. Several stage directors left New York to go work in Hollywood following:
A) The introduction of sound film.
B) The U.S. declaration of war on Germany and Japan.
C) The blacklisting of suspected Communists in American theater.
D) A prolonged strike by New York theater guilds during the early 1930s.
54. Preston Sturges is an example of a director who:
A) Specialized in prestigious literary adaptations.
B) Began his career in film as a screenwriter.
C) Emigrated to Hollywood from Germany after the Nazis gained power.
D) Joined the military during World War II and directed war documentaries.
55. Which subcategory within the musical genre died out early in the sound era?
A) Integrated musicals
B) Operetta musicals
C) Backstage musicals
D) Revue musicals
56. The effects of the Depression were frequently addressed within the early films in which genre?
A) Film noir
B) Screwball comedy
57. The horror films produced by Val Lewton at RKO in the 1940s were significant for:
A) The avoidance of graphic depictions of monsters and violence.
B) Transferring classic nineteenth-century horror novels to present-day American
C) Making stars out of Bela Lugosi and Boris Karloff.
D) The use of elaborate makeup and costume to depict monstrous characters.
58. Which 1930s American film used editing and framing to create images of collective triumph somewhat reminiscent of Soviet films of the same era?
A) I Was a Male War Bride
B) Angels With Dirty Faces
C) Our Daily Bread
D) I Am a Fugitive from a Chain Gang
59. Which of the following was not a narrative or stylistic influence on the development of American film noir?
A) German Expressionism
B) Hard-boiled detective fiction
C) Citizen Kane
D) German New Objectivity
60. Which of the following animated films made extensive use of the multiplane camera?
B) Snow White and the Seven Dwarfs
C) Gulliver's Travels
D) The Three Little Pigs
62. An oligopoly is a small number of companies that cooperate to close the market to competition.
63. The Hays Office was a government agency, developed as a New Deal program, charged with monitoring the content of films receiving nationwide distribution.
64. In the 1930s and 1940s, color in film was thought to be non-realistic and was often associated with spectacle or fantasy.
26. Studios used an optical printer typically to save money by filling in portions of studio sets.
66. Most Hollywood filmmakers of the 1930s clustered actors together in a relatively shallow area and then cut among them using shot/reverse shot.
67. All of the deep-focus effects in Orson Welles' Citizen Kane were done in a single exposure, without the aid of special cinematographic effects.
68. The American war films of the 1930s reflected the growing militarism and interventionist mood of the American people.
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