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film history exam 1
| Question | Answer |
|---|---|
| In the postwar period, the film import market in the U.S. was consistently dominated by films from: | England |
| Lew Wasserman, the legendary MCA agent, made common the practice of: | Demanding percentages of grosses or profits on behalf of a film's star |
| Hollywood studios capitalized on the emergence of television in all of the following ways EXCEPT | Purchasing the broadcast networks |
| Color films produced by Hollywood during the 1950s were likely to feature: | Shallow Focus imagery |
| The Cinerama process | Yielded a sprawling image with an aspect ratio of 2.59:1 on a curved 146-degree screen |
| The Cinemascope Process | Became one of the most popular widescreen systems because it utilized the 35mm film |
| Some films produced by independent companies were nicknamed "exploitation pictures" because: | They cashed in on topical or sensational subjects that could be 'exploited' |
| After the Paramount decision, the smaller Hollywood studios could compete better with the Majors by: | Make bigger budget films |
| In the immediate post-World war II period, U.S. government assisted film export through Commerce Department initiatives and diplomatic pressures because it saw American films as: | Increasingly too complex for American audiences |
| Because a number of American films made in the 1950s depended on special projection equipment, distributors revived a tactic occasionally used for special films since the silent era, known as: | Roadshowing |
| As interpreted by stage and film director Elia Kazan, the acting "method" pioneered by the Russian Konstantin Stanislavsky required the actor: | To ground the performance in personal experience |
| Which of the following is NOT a characteristic figure or narrative situation in the American films of director Alfred Hitchcock? | Cynical erotic comedy |
| Considered the most visible director of his generation, which of the following is the director of The Quiet Man (1952) | John Ford |
| Which of the following Science Fiction titles from the 1950s features a town overrun by pods and cloned citizens? | The Invasion of the Body Snatchers |
| Which genre had lain untouched since the 1920s and 30s until Cecil B. DeMille revived it in 1949 with Samson and Delilah? | The Historical Epic |
| Of the American directors specializing in melodramas, comedies and musicals, Vincente Minnelli and George Cukor stand out for their shrewd use of: | Long takes |
| Which of the following was NOT an incentive for European producers from different countries to join forces through coproduction? | Co-productions were typically immune from state censorship out of deference to differing standards in each partner country |
| Hollywood's objective in Europe following the end of World War II was to: | Make each country's domestic industry strong enough to support the large-scale distribution of American films |
| The Italian Neorealist filmmakers often used non-actors in central roles, in the manner of: | Soviet Montage |
| Which of the following is NOT one of the three stylistic and formal features of post-war modernism set out in Bordwell and Thompson? | Omnipotent Realism |
| The three stylistic and formal features of post-war modernism encouraged viewers to actively participate in creating meaning in the film. What is the central of effect this? | Modernist Ambiguity |
| The Arriflex would, in the post-war era, become the standard nonstudio: | 35mm camera |
| The plot structure of Italian Neo-realist films is perhaps best described as: | Episodic |
| The phrase 'Italian Spring' refers to: | The rebirth of Italy based on ideas implemented by a coalition government of left-liberal Italian parties |
| Italy's Andreotti Law of 1949 effectively created preproduction film censorship by: | Providing loans to production firms that submitted film scripts with an apolitical slant |