Flashback A Brief Film History 6th Edition By Giannetti -Test Bank +A

$35.00
Flashback A Brief Film History 6th Edition By Giannetti -Test Bank +A

Flashback A Brief Film History 6th Edition By Giannetti -Test Bank +A

$35.00
Flashback A Brief Film History 6th Edition By Giannetti -Test Bank +A

Multiple Choice

  1. What quality of speech most characterized how actors spoke in early “talkies”?
  2. poetic
  3. colloquial
  4. proper
  5. accented
  6. The gangster movie cycle began with which film?
  7. Scarface
  8. Underworld
  9. Little Cesar
  10. Public Enemy
  11. Who first administered the censorious Production Code?
  12. Joseph I. Breen
  13. Will Hays
  14. neither a nor b
  15. both a and b
  16. Which of the following is true of the gangster in gangster movies?
  17. He is poorly educated.
  18. He is incapable of love.
  19. He is a man of the city.
  20. He is incapable of humor.

  1. All of these movies featured guns, cars, and sex except:
  2. Wild Boys of the Road
  3. Public Enemy
  4. Scarface
  5. Little Caesar
  6. Who was “a musical Eisenstein”?
  7. Howard Hawks
  8. Ernst Lubitsch
  9. Fred Astaire
  10. Busby Berkeley
  11. What replaced the sight gag in comedies when sound was introduced?
  12. wisecrack
  13. fast talk
  14. double entendre
  15. non sequitur

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

95

  1. _____ were “the legitimate descendents of the American iconoclastic tradition.”
  2. The Gold Diggers
  3. Mae West and Cary Grant
  4. The Marx Brothers
  5. none of the above
  6. All of the following are typical examples of a Frank Capra movie except
  7. It Happened One Night
  8. Red River
  9. Mr. Deeds Goes to Washington
  10. The Strong Man
  11. Greta Garbo laughed for the first time on film in which movie?
  12. The Little Foxes
  13. It’s a Wonderful Life
  14. Front Page
  15. Ninotchka
  16. What did Mae West possess that made her a “startling apparition”?
  17. beauty
  18. bravery
  19. great voice
  20. political savvy
  21. What characterizes the film style of William Wyler?
  22. lengthy takes
  23. deep-focus photography
  24. few close-ups
  25. all of the above
  26. Which of the following is true of an Ernst Lubitsch comedy?
  27. it is very realistic
  28. it makes secondary characters the butt of jokes
  29. it is never cold nor brittle
  30. it stays true to traditional comic technique
  31. Who worked as a successful independently produced director?
  32. Howard Hawks
  33. George Cukor
  34. Sam Wood
  35. Mervyn LeRoy

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

96

  1. John Ford’s movies are characterized by which of the following?
  2. visual economy
  3. independent women
  4. loosely structured plots
  5. none of the above
  6. The actor that worked successfully in westerns with both Howard Hawks and John

Ford was

  1. Humphrey Bogart
  2. James Cagney
  3. Clark Gable
  4. John Wayne
  5. All of the following qualities are true of George Cukor’s outstanding, Garbo-starring

film except:

  1. luxurious mise en scène
  2. underplayed acting
  3. careless writing
  4. great performance

True/False

(Place a T or an F in the line following the sentence.)

  1. Ernst Lubitsch was the screen’s resident master of the grotesque through the early 1930s. ___

  1. Ben Hecht’s writing was embodied in a dynamic, no-nonsense style which helped define 30s comedy and drama. ___
  2. In a Busby Berkeley movie the star was really the editor, not the actor and not the camera. ___
  3. Fred Astaire used dance as a metaphor for character, courtship, love, and, yes, sex.
    ___

  1. The Marx Brothers were more dependent on their writers than quieter, more behavioral comics like Laurel and Hardy. ___
  2. Frank Capra’s movies are morality plays of loss followed by reclamation as can be seen in It’s a Wonderful Life. ___

  1. Musical underscoring is what made bad movies “bad” and, as well, often distracted from the emotion a key moment in a movie. ___

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97

  1. Bette Davis made her mark as a shy, retiring woman who would surrender her will to stronger characters, especially men. ___

  1. Howard Hawks’s films are characterized by a concise sense of plot, verbal economy, visual economy, and, at their end, triumphant characters. ___

  1. John Ford’s films are full of compositions which are painterly, in-depth, and in deep focus, but whose narrative is often rambling. ___

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

98

Matching

  1. Angels with Dirty Faces ___ a. Busby Berkeley’s musical in which

pianos move

  1. Swing Time ___
  2. Mae West puts Cary Grant in his
  3. Scarface ___ place
  4. The Informer ___ c. William Wyler films starring Bette

Davis

  1. The Little Foxes ___
  2. Marx Bothers’ surrealistic assault on
  3. Duck Soup ___ order and reason
  4. The Gold Diggers of 1935 ___ e. starred James Cagney, bruised,

without illusions…

  1. Camille ___
  2. George Cukor film starring Greta
  3. It’s a Wonderful Life ___ Garbo and Robert Taylor

  1. She Done Him Wrong ___ g. Frank Capra film starring James

Stewart

  1. director John Ford’s first critical hit
  2. gangster film written by Ben Hecht, directed by Howard Hawks

  1. starred Fred Astaire, the musical’s
    inventor

Short Answer

  1. What things did the Production Code prohibit in movies?

  1. What was it that Fred Astaire managed to achieve through his dance musicals in the
    30s?

  1. What was impossible for director Frank Capra in movies? What was his core
    message?

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

99

  1. With what character type was John Ford preoccupied in his movies?

Essay Questions

  1. What did gangster movies generally have in common with the optimistic orientation
    of most American movies (that is, until the typical gangster movie reached its bloody
    conclusion)?
  2. What was the appeal of the American musical, both in technique and story, to American audiences?
  3. What would be the delights and problems with director William Wyler’s excessive attention to detail in making his movies?
  4. In American movies, which is the more powerful thematic impulse: idealism or pragmatism?

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

100

TEST – CHAPTER 7 – EUROPEAN CINEMA IN THE 1930s

Multiple Choice

  1. Who did not flee Germany with the rise of Adolf Hitler?
  2. Billy Wilder
  3. Fritz Lang
  4. Leni Riefenstahl
  5. Fred Zinnemann
  6. Fritz Lang’s first talkie in German was
  7. The Blue Angel
  8. M
  9. Liebelei
  10. Triumph of the Will
  11. The Blue Angel is characterized by which of the following:
  12. woman as devourer
  13. man as avenger
  14. love as redemption
  15. all of the above
  16. Britain’s cinema was stunted for many years by which of the following:
  17. country’s lack of a strong economy
  18. dreary conservatism
  19. snobbish, theater-oriented tradition
  20. all of the above
  21. Charles Laughton, the actor, perhaps gave his fines performance in the movie
  22. The Private Life of Henry VIII
  23. Spartacus
  24. The Hunchback of Norte Dame
  25. Night of the Hunter
  26. Who of the following often built movies around an “innocent man on the run” theme?
  27. Michael Powell
  28. Alexander Korda
  29. John Grierson
  30. Alfred Hitchcock

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

101

  1. Alexander Korda’s problem with making his movies — those he produced and directed — was that
  2. he was not a very creative director
  3. he moved from country to country too often
  4. he let too many different people direct his movies
  5. he had tastes which were much too rarefied
  6. Hitchcock in part achieved his films’ effect and success through the influence and use

of

  1. editing based on the theory of Kuleshov and Pudovkin
  2. German Expressionism
  3. innovations in sound
  4. all of the above
  5. What film did Alfred Hitchcock make in Britain which proved the precursor of later

films like North by Northwest?

  1. Vertigo
  2. The 39 Steps
  3. Lifeboat
  4. Number 17
  5. The French admired and paid homage in their surrealist films to
  6. American slapstick comedy as seen in Buster Keaton and Laurel and

Hardy

  1. Russian masters Pudovkin and Eisenstein
  2. Alfred Hitchcock and Alexander Korda
  3. all of the above
  4. Jean Cocteau made which of the following magical tales?
  5. Beauty and the Beast
  6. The Blood of the Poet
  7. both a and b
  8. neither a and b
  9. If French civilization were destroyed today, what film, according to Richard Roud,

could be used to reconstruct that civilization?

  1. Rules of the Game
  2. Beauty and the Beast
  3. Children of Paradise
  4. none of the above
  5. The New Wave film movement of France most admired which French film director?
  6. Jean Cocteau
  7. Jean Renoir
  8. Marcel Carné
  9. Jacques Prévert

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

102

  1. Who financed his early movies himself using art works?
  2. Marcel Carné
  3. Jean Renoir
  4. Jean Cocteau
  5. Carl Theodore Dreyer
  6. What French film director called for movies which “dealt with life as it was lived in

the streets of Paris”?

  1. Francois Truffaut
  2. Danielle Darrieux
  3. Jacques Prévert
  4. Marcel Carné
  5. In Grand Illusion, Jean Renoir made good use of the talents of
  6. Charlie Chaplin
  7. G. W. Pabst
  8. Erich von Stroheim
  9. Alfred Hitchcock
  10. William Faulkner wrote the script for which of these films which Renoir made in

America?

  1. The Southerner
  2. The Sound and the Fury
  3. Absalom, Absalom
  4. Light in August

True/False

(Place a T or an F in the line following the sentence.)

  1. Hitler targeted two areas to condemn and promote his policies: Americans and movies. ___
  2. Marcel Ophüls often examined what he considered the transitory nature of love in movies like La Ronde. ___

  1. British drama was not hampered at all departures of artists like Charlie Chaplin. ___
  2. Alfred Hitchcock regretted that sound entered movies as is clear in Blackmail. ___

  1. Hitchcock’s movies tended to follow a “structure of the Sennett chase, accelerating rush towards a climactic resolution.” ___
  2. Jean Cocteau was pedestrian in his invention of imagery and humor. ___

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

103

  1. A film like Leo McCarey’s Wrong Again is an example of a film much adored by French surrealists. ___
  2. Marcel Carné prefigures film noir. ___

  1. Jean Renoir was interested in preserving and extending his famous father’s reputation as an Impressionistic painter. ___

  1. Silence was better suited to Renoir’s films than sound because of the films’ contemplative and realistic perspectives. ___

Copyright ©2010, 2007, 2004 Pearson Education, Inc. All rights reserved.

104

Matching

  1. M ___
  2. Marlene Dietrich ___
  3. Rules of the Game ___
  4. Jean Cocteau ___
  5. Children of Paradise ___
  6. Leni Riefenstahl ___
  7. Rembrandt ___
  8. Alfred Hitchcock ___
  9. Jean Gabin ___
  10. Max Ophüls ___ Short Answer

  1. Jean Renoir classic of study of French classes
  2. angels wore black leather Orpheus
  3. German actress turned director
  4. star of Port of Shadows
  5. The Blue Angel star
  6. Liebelei
  7. Fritz Lang’s first talkie
  8. Marcel Carné masterpiece
  9. The Lady Vanishes
  10. Alexander Korda

  1. What sense of fate did Max Ophüls achieve in his use of circular narratives?

  1. What film movement brought Great Britain its first distinctive form of filmmaking and what was its goal?

  1. What quality do Alfred Hitchcock’s American films possess that is lacking in his earlier British films?

  1. What view of life and love do Marcel Carné ’s films like Children of Paradise have? What do his film anticipate?

Essay Questions

  1. Is Leni Riefenstahl’s The Triumph of the Will a documentary or a work of fiction?
  2. How is Marlene Dietrich’s Lola in Josef von Sternberg’s The Blue Angel prototypically a femme fatale?
  3. Was the fabulist/surrealist French film director Jean Cocteau simply ahead of his time in his technique and story development?
  4. Did Marcel Carné make “film noir” movies?
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