Flashback A Brief Film History 6th Giannetti -Test Bank

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Flashback A Brief Film History 6th Giannetti -Test Bank


Flashback A Brief Film History 6th Giannetti -Test Bank




Multiple Choice


  1. Who wrote an entry in his/ her 1666 diary concerning a lantern with pictures in glass to make strange things to appear on a wall?
  2. Samuel Johnson
  3. Queen Elizabeth
  4. Walter Raleigh
  5. Samuel Pepys


  1. Who set about converting the Muybridge sequence of photographs into a series of

silhouettes for a projecting Zoetrope?

  1. Thomas Edison
  2. Alfred Lord Tennyson
  3. Jean Louis Mesissonier
  4. Edwin Porter


  1. Edison decided to make a projection machine called a kinetoscope which
  2. allowed only one person at a time to watch a brief loop of film.
  3. he copyrighted for an additional $15.
  4. William Dickson actually invented.
  5. became his primary engineering focus over such things as the electric storage

battery and talking doll.


  1. The great realization of Norman Raff was that
  2. Edison was shortsighted.
  3. a machine that threw pictures on a wall was a logical step.
  4. California would be the land of movie.
  5. he should charge at least 50 cents to patrons who wanted to enter his

Kinetoscope parlor.

  1. Thomas Armat realized that
  2. color was the key to successful movies.
  3. music needed to be added to movies.
  4. what the camera did to hold the film stationary while shooting images could

be repeated when projecting the images.

  1. cardboard could be used to record images instead of film.
  2. Which of the following early machines is basically the prototype of modern theatre


  1. the Vitascope
  2. the Mutoscopethe
  3. Kinetoscope
  4. none of the above


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



  1. Which of the following is true about the Lumire brothers?
  2. They made brief movies of realistic events like three old men playing cards
  3. They used light, hand-cranked projectors
  4. They made the best equipment of the day
  5. all of the above
  6. What startled viewers of the early film The Arrival of a Train was
  7. the size of the train.
  8. the train appeared to be coming right at them.
  9. the single-take action of the train arriving.
  10. the use of color in the film.


  1. In The Kiss (1896), what two things startled audiences?
  2. The closeness of the subjects and the lasciviousness of the kiss
  3. The film technique and the beauty of the subjects
  4. The fact that the womans eyes are open, and she appears to be talking
  5. none of the above
  6. Identify the melodramatic movie that used wooden planks as sight lines to keep actors in


  1. Max Takes Quinine
  2. The Count of Monte Cristo
  3. The Great Train Robbery
  4. Queen Elizabeth
  5. What did films need in addition to white magic?
  6. More money
  7. Better casts
  8. Storytelling
  9. Bigger audiences



  1. George Mlis, who understudied Robert Houdini, made movies which he
  2. Wrote
  3. Directed
  4. Designed scenery
  5. All of the above


  1. All of the following is true Edwin Porters The Great Train Robbery except
  2. it uses pans.
  3. it has hand tinted color.
  4. it uses a matte shot.
  5. none of the above.







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



  1. Movies like Pipe Dreams and The Dream of a Rarebit Fiend
  2. show the power of realism in movies.
  3. introduce surrealism into movies as early as 1903.
  4. were written by Thomas Edison.
  5. made stars of the actors.
  6. The primary strength of Edwin Porters The Great Train Robbery is that Porter
  7. told the story visually.
  8. told the story in 14 scenes.
  9. used realist painted back drops.
  10. mixed violence and romance.


  1. The evidence is clear that movies were invented by
  2. Thomas Edison.
  3. Georges Mlis.
  4. many people .
  5. unknown.


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


  1. Thomas Edisons favorite invention was the film projector and not the phonograph.
  2. The Arrival of a Train from 1895 wowed views with its changing camera angles and multiple scenes. ___


  1. The Kinetoscope was a simple and foolproof device which projected film on a crude,
    prefocused glass on which the viewer observed and endless loop of moving images. ___


  1. Initially, commercially available films only lasted about 30 seconds because the fierce jerking movement of the feed mechanism tended to break filmstrips when they were
    more than fifty to one hundred feet. ___



  1. Albert Smith argued persuasively that early movie spectators were intrigued principally by movie-making technology. ___


  1. The Vitascope, in all essential respects, proved to be the prototype for the modern movie projector. ___


  1. Many of George Mlis special effect techniques were the result of careful study and design, not fortunate accidents. ___



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  1. Around 1910, films were becoming more dramatically complicated, and films like

Mlis fantasies seemed increasingly pass. ___


  1. Edwin Porters The Great Train Robbery (1903) took more steps in the

developing grammar of film. ___

  1. Nickelodeons failed to provide a good place for the classically democratic phenomenon that was (and still is) the movies. ___














































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  1. Da Vinci ___
  2. William Dickson ___
  3. Kinetoscope ___
  4. The Lathams ___
  5. Mutoscope ___
  6. Vitascope ___
  7. Vaudeville ___
  8. George Mlis ___
  9. Edwin S. Porter ___
  10. The Dream of a Rarebit Fiend ___


  1. a machine that passed a continuous loop of film of a series of rollers and in front of a prefocused lens


  1. uses images on cardboard which are mounted consecutively on a wheel: a flip-card device


  1. shot and edited him movies as he did
    because it seemed the best way to tell a
  2. kept movies alive and evolving, but enslaved and cheapened them: movies were then called chasers


  1. developed a machine that worked
    visually with Edisons phonograph


  1. used fade outs, dissolves, double exposures, etc. in his tableaux


  1. solved the problem of film breaking by leaving slack in the film at the top and bottom of the film gate
  2. a surreal production from the Edison studio using hand-held shots and double exposures, etc.


  1. Armats and Raffs prototype for the modern movie projector


  1. desired a painting to be a living thing













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



Short Answer

  1. What is the definition of persistence of vision ?



  1. What were the two problems Norman Raff and others had to solve to project films on a wall successfully?



  1. Why is George Mlis considered the father of special effects?



  1. What were some of the ways that Edwin Porter contributed to the development of film grammar ?


Essay Questions

  1. In what ways did or did not the Lumire brothers of France create narratives in their 30-second movies?


  1. In what ways did vaudeville/ music halls support the development of movies?
  2. Why would George Mlis feel right at home today at Pixar, Disney, or Dreamworks?


  1. What qualities do Charles Chaplins Little Tramp movies possess that make them successful as stories and films?





















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





Multiple Choice

  1. Which of the following is not true about Nickelodeons?
  2. They were air conditioned.
  3. Their audiences came from the professional and upper classes.
  4. They showed full length (over 90 minutes) movies.
  5. None of the above
  6. Which of the following companies was not a film leader in the Nickelodeon era?
  7. United Artists
  8. Biograph
  9. Vitagraph
  10. Kalem
  11. Which of the following is true about Griffiths early camera work?
  12. He filmed so that the projected image would move faster than normal.
  13. He filmed human subjects up close to intensify emotion.
  14. He shot in artificial lighting nearly exclusively.
  15. He shot scenes in a completely spontaneous, unrehearsed manner.


  1. Which of the following editing techniques did Griffith make use of?
  2. parallel editing
  3. cross cutting
  4. both a and b
  5. neither a nor b
  6. Which form of movie proved a staple of studios for 40 years?
  7. sequel
  8. noir
  9. serial
  10. romance
  11. What was one technique that Biograph, as part of the Patents Company group, used to

maintain rigid control of the early movie-making industry?

  1. It kept the names of the actors in its films secret.
  2. It limited the budgets of its directors.
  3. It moved its operations to California.
  4. None of the above







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



  1. One of the main detractions of The Birth of a Nation is
  2. the realism of its battle scenes.
  3. the clear racism demonstrated in the film.
  4. melodrama of the ride-to-the rescue climax.
  5. Billy Bitzers camera work/cinematography
  6. In Intolerance, Griffith used which of the following:
  7. near-subliminal, stream-of-consciousness flow.
  8. cross cutting, including shots lasting 8 frames.
  9. a sort of crane shot.
  10. all of the above
  11. Who, of the following, was Griffiths most expressive female actor?
  12. Dorothy Gish
  13. Pearl White
  14. Lillian Gish
  15. Fannie Ward
  16. A director whom Griffith did not train was
  17. Henry King
  18. John Ford
  19. Tod Browning
  20. Raoul Walsh
  21. Who was probably responsible, though uncredited, with creating the Hollywood

studio system?

  1. William S. Hart
  2. Max Sennett
  3. Donald MacKenzie
  4. Thomas Ince
  5. Griffiths strengths included all of the following except
  6. creating clinical documentation.
  7. creating emotional reactions.
  8. creating lost worlds.
  9. creating poetry and drama.
  10. Which Cecil B. De Mille movie was hailed by the French as a breakthrough in mise

en scene?

  1. Dream Street
  2. The Cheat
  3. Tumbleweeds
  4. none of the above





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



  1. Mack Sennetts comedy
  2. worked off the odd idea that cops were funny.
  3. often piled comic incidents to a rally.
  4. were populated by character types like the Unfaithful Wife.
  5. all of the above
  6. The movies first important comedienne was
  7. Marie Dressler.
  8. Lucille Ball.
  9. Mabel Normand .
  10. Mary Pickford.
  11. All of the following major comedic talents worked for Max Sennett except
  12. Buster Keaton.
  13. Fatty Arbuckle.
  14. Charlie Chaplin.
  15. Harold Lloyd.
  16. Unlike Sennett, Charlie Chaplin realized
  17. nothing transcended character.
  18. nothing transcended goof looks.
  19. nothing transcended crude, physical humor.
  20. nothing transcended editing style.


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

  1. Early movies, before Griffith, were considered coarse and distasteful. ___
  2. The serial was a staple of second- and third-run theaters for forty years. ___


  1. Early on, unwritten rules required movies be made to look like live theatre as viewed from front row center. ___
  2. Griffith began using mature, Grand Gesture actors wizened by years of barnstorming. ___


  1. Griffiths passion was for the extreme long shot so that he could capture action and spectacle. ___


  1. Griffith increased movie-making language with techniques like freeze frames,
    parallel editing, frequent close-ups, and objects to synopsize and define character. ___




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  1. Griffith was willing to collaborate with others like Allan Dwan to create the effects that Griffith wanted for his movies. ___



  1. Cecil B. De Milles greatest gift was for getting actors to give wonderful performances. ___


  1. Thomas Ince, rather than Griffith, is the uncredited originator of what has come to be known as the Hollywood studio system. ___
  2. Max Sennetts success with his Keystone Studio was due to the fact that he told original stories and used only top actors. ___




  1. Mae Marsh ___ a. Griffith one-reeler containing 68


  1. Marcus Hanna ___
  2. Our Lady of Constant Sorrows to a
  3. The Sands of Dee ___ generation of filmgoers
  4. freeze frame ___ c. hailed as the director who made the

breakthrough with mise en scene

  1. Intolerance ___
  2. purposely photographed action and
  3. The Birth of a Nation ___ characters at a faster-than-life speed
  4. Lillian Gish ___ e. after Lillian Gish, Griffiths most

expressive actor

  1. masking ___
  2. film technique altering frame size used
  3. Cecil B. De Mille ___ in Orphans of the Storm
  4. Max Sennett ___ g. Griffith used this device for ironic

contrast between hungry workers and a bountiful banquet


  1. Griffiths artistically first-rate films, but a political/sociological



  1. powerbroker/kingmaker
  2. four stories linked by titles, a symbolic mother image, and cross cutting



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Short Answer

  1. What was the typical Nickelodeon like in terms of setting and comfort?



  1. What was the rationale behind Biograph joining with Edison, Vitagraph, etc. in 1908?



  1. What were some of the ways D. W. Griffith used editing, camera work, and acting to bring emotions to the stories of movies like Birth of a Nation and Broken Blossom?
  2. What were some of the humor techniques camera work, acting, story lines that Max Sennett used to strike wildly responsive chords in audiences?



Essay Questions

  1. Compare and contrast the nickelodeons of early cinema with the megaplexes like AMC theatres of todays cinema.


  1. To what extent was the confederation of Edison, Biograph, Vitagraph, et al. concerned with power, money, morality, and art?


  1. What are some of the ways D.W. Griffiths filmmaking techniques compare and contrast with Steven Spielbergs filmmaking techniques?
  2. After watching one of his films on Youtube, what is 1) a structural analysis of the typical Sennett plot, b) types of humor (with examples) found in the story, and c) the portrayal of characters by manner, appearance, behavior, and possessions?


















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Multiple Choice


  1. To many ordinary Americans, what seemed true about those larger-than-life silent movies coming out of early Hollywood?
  2. They were impossibly glamorous.
  3. They were a little dangerous.
  4. They were scandalous.
  5. all of the above
  6. Many comedians in early Hollywood movies came from
  7. vaudeville.
  8. Broadway.
  9. Burlesque.
  10. little theatre.


  1. Each of the following is a thematic aspect of Charlie Chaplins best work except
  2. conveying the pain of being human.
  3. portraying the joy of being rich and powerful.
  4. showing what it is to love more than to be loved.
  5. dramatizing being ignored when one does not deserve to be ignored
  6. Chaplins comic work probably owes its great appeal to the fact that it has a great

sense of

  1. the physical.
  2. the political.
  3. the psychological.
  4. the philosophical.
  5. Buster Keatons characters exhibited all of the following traits except
  6. industriousness.
  7. earnestness.
  8. an inability to assimilate the reality around him.
  9. cowardice.
  10. Harold Lloyds films like Safety Last were on the myth of the Good American, and

in such films, viewers find

  1. Home.
  2. Hearth.
  3. One True Love.
  4. all the above






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  1. Which of the following films is not one of Douglas Fairbanks swashbuckling spectaculars?
  2. The Mask of Zorro
  3. The Private Life of Don Juan
  4. The Iron Mask
  5. The Thief of Bagdad
  6. The female actor whose own career paralleled the development of movies themselves


  1. Mary Pickford.
  2. Mabel Normand.
  3. Greta Garbo.
  4. Lilian Gish.
  5. Rex Ingrams film, The Four Horsemen of the Apocalypse, with Rudolph Valentino,

is characterized by

  1. visual beauty.
  2. intense dislike of close-ups.
  3. both a and b.
  4. neither a nor b.
  5. The qualities which prohibit Erich Von Stroheim from being the Marquis de Sade of

cinema are

  1. precision and clarity.
  2. sex and doomed love.
  3. fascinating and likeability.
  4. humor and humanity.
  5. Who of the following is considered a carefree flapper?
  6. Clara Bow
  7. Greta Garbo
  8. Lillian Gish
  9. Mary Pickford
  10. The female director whose work was so admired that Universal built a studio for her

that was hers alone was

  1. Lois Weber
  2. Alice Guy-Blache
  3. Francis Marion
  4. Mrs. Wallace Reid









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  1. What woman, at age 24, wrote a script for D. W. Griffith and later worked on the subtitles for his Intolerance?
  2. June Mathis
  3. Anita Loos
  4. Francis Marion
  5. Dorothy Azner
  6. Silent films blended several arts except for
  7. photography.
  8. music.
  9. acting.
  10. special effects.
  11. The film that opened Hollywood to sound in movies is
  12. The Blue Angel.
  13. Tabu.
  14. The Jazz Singer.
  15. Wings.
  16. Adding a microphone to a set to record the actors talking did which of the following

to acting?

  1. Stopped the actors dead in their tracks
  2. Made them say their words very, very precisely
  3. Made the loud camera relocate to a sound-proof booth
  4. all the above
  5. King Vidors first talkie, Halleluja, employed which one of the following now-

common recording techniques?

  1. voice-over
  2. dubbing
  3. sound montage
  4. none of the above


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

  1. Most female film directors flourished when the talkie era began. ___
  2. Charlie Chaplin was always famous, even before getting into movies, for his Little Tramp character. ___
  3. Chaplin was more than a comedian and The Gold Rush is more than a comedy. ___
  4. Buster Keatons analytically abstract humor is more in tune with modern sensibilities than Chaplins open vulnerability. ___



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  1. Unlike Chaplin, Harold Lloyd was a creature of the movies almost from the

beginning and so required a long apprenticeship to learn how to make people laugh.


  1. Tom Mix and Clara Bow best personified the early Hollywood era, its ascent from primitivism into aesthetic accomplishment. ___
  2. Erich von Stroheim, who increased the latitude for serious filmmakers, was

responsible for shifting power from the creative to the business end of filmmaking.


  1. Studios like Universal hired prestige directors to please the critics and justify the wealth and influence standard Hollywood fodder generated. ___


  1. Says Alexander Walker, The silent stars were less mythic figures, but not quite human because they didnt speak yet, giving emotions human shape. ___
  2. The Jazz Singer was spectacular success from its first performance, thereafter prompting theaters to begin wiring for sound at considerable expense. ___


Matching                                                               a. first European woman director

  1. Warner Brothers ___ b. satirized sex, fidelity, and bad faith in

intimate relations

  1. von Sternberg ___
  2. a star who also teamed with Fairbanks
  3. Mary Pickford ___ and Chaplin to form United Artists
  4. King Vidor ___ d. The Navigator
  5. F. W. Murnau ___ e. stellar career basically ended as a film

comedian after two years

  1. Alice Guy-Blache ___
  2. City Lights
  3. Ed Lubitsch ___
  4. Underworld and The Last Command
  5. Harry Langdon ___ two of his best works
  6. Buster Keaton ___ h. made The Last Laugh, stylized mise

en scene helped to wean audiences from

  1. Charley Chaplin ___ rural romances
  2. made The Crowd which deals with
    something approaching real life
  3. produced The Jazz Singer which included sound



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Short Answer

  1. How did Charles Chaplin create pathos (sympathy for another) in his comedies like City Lights or The Gold Rush? Illustrate.



  1. What were some of the filmmaking techniques or qualities that made Buster Keatons early film comedies the antithesis of Max Sennetts comedies?


  1. What were some of the ways that Mary Pickfords film career paralleled Hollywoods evolution as the filmmaking capital of the world?



  1. What was Hollywoods resistance at all levels studio owners, directors, actors, etc. to introducing sound to the movie experience?


Essay Questions


  1. In a Charlie Chaplin comedy, which element is dominant: slapstick comedy or the psychological study of character?
  2. Why was vaudeville an excellent training ground for acting in movies?


  1. What was the typical tone of the movies that women directors made in the silent era?
  2. To what extent and in what way(s) did the introduction of sound turn films into talkies (sound dependent) rather than movies (image/picture dependent)?



















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Multiple Choice


  1. Who of these had little or no interest in expressing the workings of the subconscious?
  2. Fritz Lang
  3. Sergei Eisenstein
  4. King Vidor
  5. Alfred Hitchcock
  6. Kuleshovs editing experiment on the importance of the order of shots involved which sequence?
  7. closeup of an actor with a plate of soup; a dead woman in a coffin; a little

girl playing with a doll

  1. closeup of a little girl playing with a doll; a dead woman in a coffin; an

actor with a plate of soup

  1. a dead woman in a coffin; a little girl playing with a doll; an actor with a

plate of soup

  1. none of the above
  2. Alfred Hitchcocks early films resemble the German movies exemplified by F. W.

Murnau in all of the following ways except

  1. plot.
  2. character.
  3. art direction.
  4. suggestive camera.


  1. Sergei Eisensteins overriding principle was kineticism which meant which of these?
  2. movement outside the frame
  3. movement inside the frame
  4. careful attention to movement of the camera
  5. all of the above
  6. Which of these is the director whose free flow of images took the place of

conventional narrative?

  1. Alexander Pudovkin
  2. Alexander Dovzhenko
  3. F. W. Murnau
  4. G. W. Pabst
  5. According to V. I. Pudovkin, the operating principle of Russian (i.e. Soviet)

filmmaking was

  1. editing.
  2. plot.
  3. acting.
  4. none of the above.

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  1. In Expressionism, which flourished in Germany, theorizes or uses all of the following
  2. the artists emotional, personal reactions
  3. exaggeration and dreamlike atmosphere
  4. the faithful reproduction of the natural appearance of an object
  5. heavy use of light and dark contrasts
  6. The German director who served as the inspiration for other German directors such as
  7. W. Murnau and Robert Wiene was
  8. G. W. Pabst
  9. Carl Mayer
  10. Ernst Lubitsch
  11. Max Reinhardt
  12. Which of the following is a renowned Fritz Lang film?
  13. Wings
  14. Mother
  15. The Eyes of the Mummy Man
  16. Metropolis
  17. The Griffith of Europe was the German director
  18. Ernst Lubitsch
  19. Fritz Lang
  20. Emil Jennings
  21. Walter Ruttman
  22. Which of these is true about F. W. Murnaus Nosferatu?
  23. Dracula is very good looking.
  24. Dracula lives in Paris.
  25. Dracula is a kind of man-rat.
  26. Dracula drinks blood in his bath.
  27. G. W. Pabsts Pandoras Box
  28. faithfully recreates the myth.
  29. is a relentless parable of a sensually insatiable womans destruction.
  30. concerns street-wise profiteers and destitute middle-class.
  31. portrays capitalisms connection to war.
  32. Dadaism is the art movement that
  33. despised realism.
  34. emphasized the illogical or absurd.
  35. used buffoonery and provocative behavior to shock.
  36. all of the above





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  1. Un Chien Andalou is a surrealist film made by
  2. Louis Buuel
  3. Salvador Dali
  4. Both
  5. Neither
  6. Luis Buuel, in film after film, took as his theme
  7. various ways people are cruel to animals.
  8. some attack on conventional morality.
  9. support for capitalist-based society.
  10. examination and application of the ideas of Carl Jung.
  11. Abel Gances films are characterized by all of the following except
  12. avant-garde techniques.
  13. romantic sensibility.
  14. restraint.
  15. extreme length.
  16. The French director who had an anarchist spirit but produced a light tone was
  17. Ren Clair
  18. Jean Renoir
  19. Marcel Proust
  20. Jean Vigo



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


  1. Sjstrm and Stiller explored the suffering brought on by the conflict between severe Protestantism and its constricting effect on the human instinct for pleasure. ___
  2. Alfred Hitchcock was not at all interested and did not use the Soviets emerging technique of manipulative cutting when it suited his purposes. ___


  1. Potemkins Odessa steps sequence is a powerful recreation of what its like to be caught in an explosion of random violence. ___
  2. The Russians used tracking, panning, tilting, and the like to full effect. ___
  3. Germanys cinema was the only national cinema comparable to Americas in the 1920s. ___


  1. The Germans used expressionism to create a form of light-hearted domestic comedy.

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



  1. Murnau was the first to make camera movement a style sufficient unto itself. ___
  2. Zero for Conduct is a Dada film made famous for its slow-motion, dreamlike, surreal pillow-fight scene. ___


  1. Modern Times was so like Under the Roofs of Paris that Ren Clairs producers sued Charlie Chaplin. ___
  2. Abel Gances polyvision anticipates Cinerama. ___





  1. Alfred Hitchcock ___ a. The Cabinet of Dr. Caligari
  2. Lev Kuleshov ___ b. Le Million
  3. Vsevelod Pudovkin ___ c. The Last Laugh
  4. Robert Wiene ___ d. editing is the essence of cinema
  5. Fritz Lang ___ e. LAge dOr
  6. F. W. Murnau ___ f. The Lodger
  7. Louise Brooks ___ g. Lulu in Hollywood
  8. Ren Clair ___ h. Storm over Asia
  9. Abel Gance ___ i. Spies
  10. Luis Buuel ___ j. Napoleon


Short Answer


  1. How did Sergei Eisenstein use reverse angles in his filmmaking?



  1. What is the definition of the German term kammerspiel? Give an example of a movie embodying this quality.



  1. In what ways did filmmakers react to the disillusioning bloodiness of World War I?
    What film movement/ style was the ultimate reaction to the war to end all wars?



  1. Explain Abel Gances Polyvision as an example of his extravagant filmmaking.




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



Essay Questions

  1. What does the term plastic mean as it applies to Soviet/ Russian movie making?


  1. What is/ are the difference(s) between expressionism and naturalism?
  2. Do Fritz Langs symbols in his films keep his films from being realistic?


  1. In what ways were Luis Buuels (with Salvador Dalis help early on) attack movies in terms of technique, imagery, and theme?













































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





Multiple Choice


  1. What was a particularly taboo subject in American cinema in the Hollywood system?
  2. optimism
  3. romance
  4. honest failure
  5. none of the above
  6. All the following were responsible for the practice of vertical integration except
  7. Thomas Ince.
  8. William Fox.
  9. Adolph Zukor.
  10. Marcus Loew.


  1. The best American movies of this period were movies that
  2. ennobled human beings.
  3. made a great deal of money.
  4. both a and b
  5. neither a nor b
  6. Which of the following is true about Paramount Studio?
  7. It was responsible for 25% of the films produced in 1929.
  8. It was the most sophisticated studio of the Big Five.
  9. It was the most European.
  10. all the above
  11. Under the Hollywood film-studio factory system, the key to getting a movie made

was the

  1. director.
  2. producer.
  3. cinematographer.
  4. star.
  5. The studio whose ruling sensibility was masculine, tough, and proletarian was
  6. Paramount.
  7. Universal.
  8. RKO.
  9. Warner Brothers.






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



  1. What percent of the seating capacity of theatres did the Big Five studios control?
  2. 25%
  3. 50%
  4. 75%
  5. 100%
  6. Which of the following traits was not true of B-movies?
  7. style, boldness, and originality
  8. lurid and infantile titles
  9. inclusion of a great deal of stock footage
  10. testing ground of raw talent
  11. All of the following made up the Front Office of a major studio except the
  12. studio head.
  13. producers.
  14. production chief.
  15. directors.
  16. RKO, a small studio, boasted which of the following:
  17. great political clout in California
  18. the finest special effects unit in Hollywood
  19. Gene Kelly and Debbie Reynolds
  20. Fritz Lang and John Ford, two of the best contract directors in Hollywood
  21. What two types/ titles in the studio system produced the majority of the very best


  1. the producer
  2. the director
  3. both of the above
  4. neither of the above
  5. Top stars often had written into their contracts all of the following except
  6. how much they could weigh.
  7. script approval.
  8. director.
  9. cinematographer.
  10. A personality star was an actor whose
  11. screen persona and actual personality were very different.
  12. screen roles were always exactly the same character.
  13. screen persona and actual personality were almost identical.
  14. none of the above






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  1. Classical narrative structure
  2. begins with an implied dramatic question.
  3. involves subsequent scenes that intensify action in a rising pattern.
  4. suppresses any dramatic detail that does not intensify the central conflict.
  5. all the above
  6. What element in a script took precedence over all other elements?
  7. action
  8. dialogue
  9. costume
  10. comedy
  11. All of the following are true about the use of genre to develop movie stories except:
  12. Its use automatically synthesizes a vast amount of iconographic data.
  13. Its use provides a very tight set of ready-made expectations.
  14. Its use helps to organize and focus story materials.
  15. Its conventions are mere clichs unless united with significant innovations.


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

  1. Benjamin Hampton claims that Hollywoods greater film success than Europes is
    explained by Hollywoods willingness to give the public what it was willing to pay
    for. ___
  2. The temper of each major studio was determined in part by the personality of the person who ran each studio. ___


  1. The choices of movies which Bette Davis fought for made considerably less money than the ones her Front Office favored for her. ___
  2. Major studios often viewed their stars as valuable investments, properties. ___


  1. Good looks and sex appeal have seldom been conspicuous features of most film stars.
  2. Narrative structure in classical movies is linear and often takes the form of a journey, chase, or search. ___



  1. In the assembly-line method of making movies, action and plot did not take precedence over character consistency and probability. ___




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



  1. During the big studio era, literary properties were thought to be inferior to original screenplays.___
  2. Gangster films are often vehicles for exploring rebellion myths. ___
  3. Less realistic than slapstick comedy, screwball comedys characters are never serious as they interact with one another. ___




  1. Thomas Ince ___
  2. producer ___
  3. John Wayne ___
  4. MGM ___
  5. classical cinema ___
  6. B-movies ___
  7. Frank Capra ___
  8. Paramount ___
  9. Clark Gable ___
  10. Darryl F. Zanuck ___ Short Answer


  1. specialized in lavish spectacles
  2. major studio especially receptive to comedy
  3. top male star of the 1930s
  4. Twentieth Century-Fox production head
  5. inaugurated the era of screwball comedy
  6. shaped writing the script, had say in casting, etc.
  7. most popular film star in film history
  8. concerns goal-oriented characters
  9. over half of majors movies were these
  10. devised the studio system


  1. Above all, what kind of stories did American audiences want to see after World War




  1. What was the model for the Hollywood studio system and who was the inventor of that model?




  1. What happened to new actors/actresses (neophytes) who entered the star system?



  1. To what is classical cinema oriented and to whom?











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



Essay Questions

  1. What were the benefits of the studio system to the film industry itself as well as movie goers? What were the limitations of the studio system?
  2. What were the advantages to studios like MGM and Paramount that they specialized
    in specific kinds of movies like spectaculars, screwball comedies etc.? What were the


  1. Why was the development of the classical narrative script form in Hollywood inevitable?


  1. Given the fact that the system remade people into acting types, many of whom

became stars, how likely is it that personality stars like Gary Cooper were, in private life, just like their screen personas, or was it likely that, as we learned about actors like Rock Hudson and Marilyn Monroe, they had private selves that few knew?





































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





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.



  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. Its 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.



  1. John Fords 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 Cukors outstanding, Garbo-starring

film except:

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


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


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


  1. Ben Hechts 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 Capras movies are morality plays of loss followed by reclamation as can be seen in Its 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. ___



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



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



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


  1. John Fords 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.





  1. Angels with Dirty Faces ___ a. Busby Berkeleys 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


  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. Its a Wonderful Life ___ Garbo and Robert Taylor


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



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


  1. starred Fred Astaire, the musicals



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



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



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



  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
  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 Wylers 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.





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 Langs 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. Britains cinema was stunted for many years by which of the following:
  17. countrys 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.



  1. Alexander Kordas 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


  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


  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 Carn
  9. Jacques Prvert

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



  1. Who financed his early movies himself using art works?
  2. Marcel Carn
  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 Prvert
  4. Marcel Carn
  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


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


(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 Ophls 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. Hitchcocks 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.



  1. A film like Leo McCareys Wrong Again is an example of a film much adored by French surrealists. ___
  2. Marcel Carn prefigures film noir. ___


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


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











































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





  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 Ophls ___ 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 Langs first talkie
  8. Marcel Carn masterpiece
  9. The Lady Vanishes
  10. Alexander Korda


  1. What sense of fate did Max Ophls 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 Hitchcocks American films possess that is lacking in his earlier British films?



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



Essay Questions


  1. Is Leni Riefenstahls The Triumph of the Will a documentary or a work of fiction?
  2. How is Marlene Dietrichs Lola in Josef von Sternbergs 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 Carn make film noir movies?



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






Multiple Choice

  1. All of the following are true about the state of the American film industry during World War II except
  2. Americans love affair with movies continued through most of the 40s
  3. the value of studios leaped by almost $150,000,000 in one year alone
  4. many studios lost money because of the war
  5. the admission price to movies was less than 50 cents
  6. Which of the following did not contribute to Hollywoods loss of profitability after

World War II?

  1. anti-trust action against the majors
  2. bad movies
  3. television
  4. HUAC investigations
  5. Which of the following is true of John Hustons The Battle of San Pietro?
  6. he used a hand-held camera
  7. he filmed body bags
  8. both a and b
  9. neither a nor b
  10. The Why We Fight war propaganda films are characterized by which of the


  1. stock footage
  2. animation
  3. stentorian narration
  4. all of the above
  5. Which of the following is an example of film noir by John Huston?
  6. The African Queen
  7. The Maltese Falcon
  8. The Battle of San Pietro
  9. none of the above


  1. The

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