Cinema and Society Question
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Course Introduction
This course explores the dynamic relationship between cinema and society, examining how films both reflect and shape cultural, social, and political realities. Students will analyze key films from various historical periods and regions, considering themes such as identity, power, ideology, and social change. Through critical readings, screenings, and discussions, the course investigates how cinema addresses issues like race, gender, class, and nation, and how it serves as a medium for public discourse, representation, and resistance. By the end of this course, students will gain a deeper understanding of the impact of cinema on society and develop analytical skills to interpret film as a culturally significant art form.
Recommended Textbook Flashback A Brief Film History 6th Edition by Louis Giannetti
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Chapter 1: Beginnings
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Q1) Edwin Porter's The Great Train Robbery (1903)took more steps in the developing grammar of film.___
A)True
B)False
Answer: True
Q2) The Arrival of a Train from 1895 wowed views with its changing camera angles and multiple scenes.___
A)True
B)False
Answer: False
Q3) Many of George Méliès' special effect techniques were the result of careful study and design,not fortunate accidents.___
A)True
B)False
Answer: False
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Page 3
Chapter 2: Griffith and His Contemporaries: 19081920
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Q1) Unlike Sennett,Charlie Chaplin realized
A)nothing transcended character.
B)nothing transcended goof looks.
C)nothing transcended crude,physical humor.
D)nothing transcended editing style.
Answer: A
Q2) Which of the following is not true about Nickelodeons?
A)They were air conditioned.
B)Their audiences came from the professional and upper classes.
C)They showed full length (over 90 minutes)movies.
D)None of the above
Answer: D
Q3) Which Cecil B.De Mille movie was hailed by the French as a breakthrough in mise en scene?
A)Dream Street
B)The Cheat
C)Tumbleweeds
D)none of the above
Answer: B
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Page 4
Chapter 3: American Cinema in the 1920s
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Q1) Charley Chaplin ___ rural romances
A)first European woman director
B)satirized sex,fidelity,and bad faith in intimate relations
C)a star who also teamed with Fairbanks and Chaplin to form United Artists
D)The Navigator
E)stellar career basically ended as a film comedian after two years
F)City Lights
G)Underworld and The Last Command two of his best works
H)made The Last Laugh,stylized mise en scene helped to wean audiences from rural romances
I)made The Crowd which deals with something approaching real life
J)produced The Jazz Singer which included sound
Answer: F
Q2) Buster Keaton's characters exhibited all of the following traits except A)industriousness.
B)earnestness.
C)an inability to assimilate the reality around him.
D)cowardice.
Answer: D
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5
Chapter 4: European Cinema in the 1920s
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Sample Questions
Q1) Do Fritz Lang's symbols in his films keep his films from being realistic?
Q2) Robert Wiene ___
A)The Cabinet of Dr.Caligari
B)Le Million
C)The Last Laugh
D)editing is the essence of cinema
E)L'Age d'Or
F)The Lodger
G)Lulu in Hollywood
H)Storm over Asia
I)Spies
J)Napoleon
Q3) Un Chien Andalou is a surrealist film made by
A)Louis Buñuel
B)Salvador Dali
C)Both
D)Neither
Q4) What is the definition of the German term kammerspiel? Give an example of a movie embodying this quality.
Q5) What does the term "plastic" mean as it applies to Soviet/ Russian movie making?
Page 6
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Chapter 5: The Hollywood Studio System: 1925-1955
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Q1) What percent of the seating capacity of theatres did the Big Five studios control?
A)25%
B)50%
C)75%
D)100%
Q2) To what is classical cinema oriented and to whom?
Q3) 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?
Q4) Thomas Ince ___
A)specialized in lavish spectacles
B)major studio especially receptive to comedy
C)top male star of the 1930s
D)Twentieth Century-Fox production head
E)inaugurated the era of screwball comedy
F)shaped writing the script,had say in casting,etc.
G)most popular film star in film history
H)concerns goal-oriented characters
I)over half of majors' movies were these
J)devised the studio system
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Chapter 6: American Cinema in the 1930s
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Q1) What was the appeal of the American musical,both in technique and story,to American audiences?
Q2) The gangster movie cycle began with which film?
A)Scarface
B)Underworld
C)Little Cesar
D)Public Enemy
Q3) Which of the following is true of the gangster in gangster movies?
A)He is poorly educated.
B)He is incapable of love.
C)He is a man of the city.
D)He is incapable of humor.
Q4) In a Busby Berkeley movie the star was really the editor,not the actor and not the camera.___
A)True
B)False
Q5) Frank Capra's movies are morality plays of loss followed by reclamation as can be seen in It's a Wonderful Life.___
A)True
B)False
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Chapter 7: European Cinema in the 1930s
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Q1) What film did Alfred Hitchcock make in Britain which proved the precursor of later films like North by Northwest?
A)Vertigo
B)The 39 Steps
C)Lifeboat
D)Number 17
Q2) What French film director called for movies which "dealt with life as it was lived in the streets of Paris"?
A)Francois Truffaut
B)Danielle Darrieux
C)Jacques Prévert
D)Marcel Carné
Q3) Britain's cinema was stunted for many years by which of the following:
A)country's lack of a strong economy
B)dreary conservatism
C)snobbish,theater-oriented tradition
D)all of the above
Q4) How is Marlene Dietrich's Lola in Josef von Sternberg's The Blue Angel prototypically a femme fatale?
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Chapter 8: American Cinema in the 1940s
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Q1) The Stranger ___
A)Orson Welles' film
B)Katharine Hepburn
C)Disney classic animated feature
D)Humphrey Bogart
E)Double Indemnity showed his expressionistic leanings
F)like neorealism in technique
G)The Asphalt Jungle,a world of shadows
H)The Palm Beach Story
I)Sturges' film badly recut by Howard Hughes
J)William Wyler WWII documentary
Q2) What quality(ies)make Walt Disney's animated movies such as Pinocchio work as well as they do?
A)emotional directness
B)wonderful film music
C)mischievous humor
D)all of the above
Q3) Whom in Hollywood did the investigations of the House Un-American Activities Committee (HUAC)affect?
Q4) What could,like Ben Hecht,Billy Wilder do almost instinctively and why?
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Chapter 9: European Cinema in the 1940s
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Q1) Laurence Olivier used all of the following movie making techniques while directing Hamlet except
A)voice-over interior monologues
B)crane and dolly shots
C)deep-focus photography
D)short takes
Q2) Nazi propaganda films were efforts to depict conditions in Germany truthfully.___
A)True
B)False
Q3) Vittorio De Sica teamed with Cesare Zavattini to create which of the following films:
A)The Bicycle Thief
B)Umberto D
C)Miracle in Milan
D)all of the above
Q4) Visconti's Ossessione,loosely based on The Postman Always Rings Twice,is said to A)True
B)False
Q5) Why did neorealism emerge in Italy after World War II?
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Chapter 10: American Cinema in the 1950s
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Q1) What were the effects of the "red scare" and the HUAC investigations on Hollywood?
Q2) Some Like It Hot ___
A)starred that muscular dancer,Gene Kelly
B)early 3D movie
C)filmmakers assume reformist perspective on story
D)revisionist western
E)made the Production Code blue
F)made for television movie won Oscars
G)director who relied heavily on storyboarding
H)Marilyn Monroe stars,Billy Wilder directs
I)writer blacklisted as a result of refusing HUAC
J)musical spoof on "hard boiled" fiction
Q3) The Production Code's censorship standards slowly gave way to new ideas and language before the onslaught of such directors as Otto Preminger.___
A)True
B)False
Q4) What were some of the things that method acting helped actors achieve in their performance?
Q5) What were some of the short comings of Cinerama?
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Chapter 11: International Cinema in the 1950s
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Q1) Was Federico Fellini a realist or formalist/ fabulist in his movies of the 50s?
Q2) Until the New Wave movement at the end of the 50s,the French film industry was A)mediocre.
B)innovative.
C)nonexistent.
D)derivative.
Q3) The American comedic film director to whom Jaques Tati may be compared is A)Harold Lloyd
B)Charlie Chaplin
C)Buster Keaton
D)none of the above
Q4) Akira Kurosawa often used Shakespeare and other Western sources for inspiration in his movies.___
A)True
B)False
Q5) Jaques Tati worked austerely as did Bresson,but was a more cheerful artist as can be seen in Jour d' Fête.___
A)True
B)False
Q6) What kind of images was Robert Bresson drawn to in his films during this period?
Page 13
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Chapter 12: American Cinema in the 1960s
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Q1) What were some of the filmmaking techniques that directors from New York like Sidney Lumet,John Frankenheimer,Mike Nichols,etc.used that made their films "arty"?
Q2) Which of the following tended to be true of Vietnam era movies?
A)big-budget films ruled
B)the protagonist(s)often died
C)westerns disappeared
D)non-political positions were taken in the movies
Q3) Why is the cliché "all that glitters is not gold" appropriate for the films,whether realistic or spectacle,of the early 60s?
Q4) The studio system benefited by gaining new perspectives when conglomerates like Transamerica Corporation acquired them.___
A)True
B)False
Q5) Where did many of the newer directors of the 1960s come from?
A)New York
B)London
C)Paris
D)none of the above
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Chapter 13: International Cinema in the 1960s
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Q1) The young directors who made up the French nouvelle vague (New Wave)were a homogenous group in terms of their styles and themes.___
A)True
B)False
Q2) The French director who liked to "throw the rough draft [of a movie] at the public" was
A)Louis Malle
B)Jean-Luc Godard
C)Alain Resnais
D)Agnes Varda
Q3) After Stalin's death in 1953,the cinema in communist-ruled countries became A)freer.
B)more expensive.
C)less personal.
D)none of the above
Q4) Acting in Kitchen School realistic movies was characterized by being A)physical.
B)psychological.
C)sexy.
D)all of the above
Page 15
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Chapter 14: American Cinema in the 1970s
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Q1) Francis Ford Coppola believed in the 1970s that exercising caution is the key to making good art and good show business.___
A)True
B)False
Q2) The producer of B-films that gave many notable American directors of the 70s, including Martin Scorsese,their starts was
A)Roger Corman
B)Jack Warner
C)Robert Altman
D)none of the above
Q3) Robert Altman eschews planning his movies tightly in favor of capturing the movie.
A)True
B)False
Q4) Movie audiences expanded as retirees,looking for something to do,began to flock to theatres.___
A)True
B)False
Q5) What was the status - fictional and real - of women in Hollywood in the 70s?
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Chapter 15: International Cinema in the 1970s
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Q1) What thematic traits did Italian directors Bernardo Bertolucci and Lena Wertmuller share?
Q2) Paolo and Vittorio Taviani tended to be directors in the neorealist tradition except that in one of their films,one might find that
A)music might swell from nowhere.
B)imagination might recast characters.
C)the thoughts of characters might be heard.
D)all of the above
Q3) To what extent does a focus on sex rule European films of the 70s?
Q4) Were German movies of the 70s generally optimistic and success driven as in classical cinema,or were they generally pessimistic and bleak? Use examples.
Q5) Which of the following is a true about Dian Kurys?
A)not rigidly feminist
B)worked in America
C)made Get Out Your Handkerchiefs
D)all of the above
Q6) With what other medium was German cinema of the 70s linked and in what ways?
Q7) What traits did many of the state-sponsored 70s films of Australia share?
Q8) What Marxist qualities can be seen in the Italian films of the 70s?
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Chapter 16: American Cinema in the 1980s
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Q1) Which of the following is true about the resurgence of studios in the 1980s?
A)practiced vertical integration
B)established a genre of story
C)refused to make movies with older directors
D)all of the above
Q2) A principal source for many of the emerging stars of movies in the 1980s was
A)stage
B)foreign movies
C)university
D)television
Q3) What are the principal traits of Spike Lee's cinematic world?
Q4) Robert Zemeckis knew immediate success when he entered the movie because he worked for Steven Spielberg.___
A)True
B)False
Q5) What element was lacking in young directors of the 80s that indicated that their passion for filmmaking was "unconnected to anything deeper than celluloid"?
Q6) How effective was the revived studio system in producing high-quality movies?
Q7) Why was the Disney studio successful in the 80s?
Page 18
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Chapter 17: International Cinema in the 1980s
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Q1) Which of the following foreign directors has also found great success in American cinema?
A)Claude Berri
B)Percy Adlon
C)Paul Verhoeven
D)István Szabó
Q2) Under the Brezhnev regime in the Soviet Union,Soviet filmmakers began to make more accessible and commercial films.___
A)True
B)False
Q3) In what way(s)was the division/ tension between the Masterpiece Theatre-like filmmakers and the Kitchen Sink-like filmmakers beneficial or problematic?
Q4) Paul Verhoeven has restricted his films to issues concerning life in the Netherlands (i.e.Holland).___
A)True
B)False
Q5) What was the character of the British film renaissance of the 80s?
Q6) Why did the movies of Poland and Hungary become intense examinations of various kinds of morality?
19
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Chapter 18: American Cinema in the 1990s
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Q1) What came to be clear about women making movies in the 90s was that
A)gender was more important than talent.
B)talent was more important than gender.
C)money was more important than talent.
D)money was more important than gender.
Q2) Disney animated films - the good ones - make pop poetry out of the bond between humans and animals.___
A)True
B)False
Q3) All of the following African-American directors of the 90s earned the right to not have to succeed with every movie except
A)Will Smith
B)Forest Whitaker
C)Spike Lee
D)the Hughes brothers
Q4) At the century's end,the only free-standing independent studio was
A)Tri-Star
B)American International
C)Universal
D)Disney
Page 20
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Chapter 19: International Cinema in the 1990s
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Q1) Spanish director Pedro Almodóvar has been compared to the off-beat American director
A)Jim Jarmusch
B)Kevin Smith
C)Tim Burton
D)John Waters
Q2) Typical traits found in Hong Kong movies of the 1990s include which of the following:
A)sophisticated humor
B)chaotic violence
C)strong sense of family
D)poetic visual style
Q3) Irish filmmakers in the 90s tended to do all of the following except A)use stars.
B)tell stories.
C)depend on dialogue.
D)avoid genre/narrative conventions.
Q4) In filmmaking,which is the more ruinous to the enterprise: political oppression/ censorship or economic impoverishment/ lack of resources?
Q5) What are the qualities of Irish movies that made them "Irish" in the 90s?
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Chapter 20: American Cinema Since 2000
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Q1) The Coen brothers' No Country for Old Men was
A)basically a faithful adaptation of the Cormac McCarthy novel
B)about a killer straight from the id
C)both a and b
D)neither a nor b
Q2) All of the following genres are sources for movies intended for a younger audience except
A)war
B)science fiction
C)comic books
D)fantasy
Q3) What theater screen format gives promise that the horizon of movies contains more than just a transition to digital?
A)Netflix
B)direct downloads
C)IMAX
D)all of the above
Q4) Why are Pixar movies so successful?
Q5) What has happened to the rules for genre storytelling in movies in the 2000s?
Q6) Are the directors of the 2000s realists,classicists,or formalists generally?
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Chapter 21: International Cinema Since 2000
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Q1) Kandahar ___
A)won the Golden Globe as Best Foreign film
B)a pregnant teen decides to become a drug mule
C)action as dance
D)two friends from childhood become suicide bombers
E)Helen Mirren won the Academy Award for her performance
F)portrayal of "the devastated,hopeless,soul of a nation"
G)political black comedy from Bosnia
H)raising the American flag is but a dot in the distance
I)political thriller about "big brother" surveillance
J)in a childless dystopian world,a single female miraculously becomes pregnant
Q2) One of the most prolific film producing countries in the world is
A)Iraq
B)Iran
C)Egypt
D)Niger
Q3) Mexican directors like Guillermo del Toro generally make more money in Mexico than in the U.S.___
A)True
B)False
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