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film history exam2.1
| Question | Answer |
|---|---|
| The narrative of La Strada begins and ends | At the seashore |
| Francois Truffaut wrote mainly for which of the following journals? | Cahiers du Cinema |
| In the famous analogy of French filmmaker and theorist Alexandre Astruc, a filmmaker-author uses a camera as a | Writer uses a pen |
| What is a "metteur en scene"? | A director is a competent craftsman |
| Bordwell and Thompson note that the major 1950s films of director Ingmar Bergman tend to reflect upon the relation between | Theater and life |
| According to Module 1, which of the following is a feature of Ingmar Bergman's films? | Memories- or the search for childhood innocence |
| In Wild Strawberries (a clip provided online) the elderly Professor has a dream about? | Death |
| Bordwell and Thompson note that according to auteurist critics, most of director Akira Kurosawa's films feature | Men who curb selfish desires and work for the good of others |
| Akira Kurosawa's Rashomon (clip provided online) tells the story of a rape and murder. How is the violent event presented? | From different (and conflicting) points of view |
| While many of his films are said to be autobiographical, Thompson and Bordwell suggest that Fellini's narratives are about what? | Life mixed with fantasy |
| Which of the following Federico Fellini films (clip provided online) is based on Fellini's own childhood and features a discontinuous narrative—including a section on various teaching styles in school? | Amarcord |
| After WWII, Indian film producers often financed their projects with funding from | Exhibitors and distribution companies |
| While discussing the director of Pather Panchali, Bordwell and Thompson note that "Most of [Satyajit] Ray's film work ..." | Runs counter to the commercial Indian cinema of the time |
| Which group of filmmakers, focusing mainly on the fusion of documentary and fiction, included Alain Resnais, the director of Hiroshima mon amour (1959)? | Left bank |
| Which of the following framing techniques from Tirez sur le Pianiste ("Shoot the Pianist") (clip provided online) pays homage to the silent era? | Iris shot |
| A guiding principle for New Wave directors was | Personal vision |
| Agnès Varda's Le Bonheur ("Happiness," 1965) disturbed viewers because | It suggested that one woman can easily take the place of another |
| Which French New Wave filmmaker is credited with innovating the design of shots that seem astonishingly flat? (Hint: Bordwell and Thompson describe him as "the most provocative" of the New Wave directors.) | Jean-Luc Godard |
| Breathless is based on an original screenplay by | Francois Truffaut |
| Les Quatre Cents Coups ("The 400 Blows") features an interview between Antoine and a female psychiatrist; how is this filmed? | Antoine faces the camera, almost like a moment of direct address |
| A 1959 French law created the avance sur recettes (advance on receipts) system. What did this law do? | Financed first features on the basis of a script |
| The writers involved with Cahiers du Cinema displayed a disdain for American directors in their search for a new, uniquely French cinema | False |
| Which important Italian film of the 1960s (directed by Gillo Pontecorvo) used documentary conventions and a complex flashback structure to portray the Algerian war for independence? | Battle of Algiers |
| The most internationally successful Italian genre of the 1960s was a variation on the | Western |
| One of the first British "kitchen sink" films, directed by Tony Richardson, was a sober and realistic adaptation of John Osborne's play | Look back in anger |
Created by:
maddieslays