Film and Society Final Exam - 928 Verified Questions

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Film and Society Final

Exam

Course Introduction

This course explores the dynamic relationship between film and society, examining how cinema reflects, shapes, and challenges cultural norms and social values. Students will analyze films from various eras and genres, investigating themes such as identity, power, ideology, and representation. Through critical readings, screenings, and discussions, the course encourages an understanding of film as both an artistic medium and a social document, highlighting its role in influencing public opinion, constructing collective memory, and engaging with contemporary issues.

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Flashback A Brief Film History 6th Edition by Louis Giannetti

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21 Chapters

928 Verified Questions

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Chapter 1: Beginnings

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Q1) The Vitascope,in all essential respects,proved to be the prototype for the modern movie projector.___

A)True

B)False

Answer: True

Q2) 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"?

A)Samuel Johnson

B)Queen Elizabeth

C)Walter Raleigh

D)Samuel Pepys

Answer: D

Q3) George Méliès,who understudied Robert Houdini,made movies which he A)Wrote

B)Directed

C)Designed scenery

D)All of the above

Answer: D

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Chapter 2: Griffith and His Contemporaries: 19081920

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Q1) Marcus Hanna ___

A)Griffith one-reeler containing 68 scenes

B)Our Lady of Constant Sorrows to a generation of filmgoers

C)hailed as the director who made the breakthrough with mise en scene

D)purposely photographed action and characters at a faster-than-life speed

E)after Lillian Gish,Griffith's most expressive actor

F)film technique altering frame size used in Orphans of the Storm

G)Griffith used this device for ironic contrast between hungry workers and a bountiful banquet

H)Griffith's artistically first-rate films,but a political/sociological embarrassment

I)powerbroker/kingmaker

J)four stories linked by titles,a symbolic mother image,and cross cutting

Answer: I

Q2) Griffith's passion was for the extreme long shot so that he could capture action and spectacle.___

A)True

B)False

Answer: False

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Chapter 3: American Cinema in the 1920s

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Sample Questions

Q1) Many comedians in early Hollywood movies came from A)vaudeville.

B)Broadway.

C)Burlesque.

D)little theatre.

Answer: A

Q2) To many ordinary Americans,what seemed true about those larger-than-life silent movies coming out of early Hollywood?

A)They were impossibly glamorous.

B)They were a little dangerous.

C)They were scandalous.

D)all of the above

Answer: D

Q3) 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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Chapter 4: European Cinema in the 1920s

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Q1) G.W.Pabst's Pandora's Box

A)faithfully recreates the myth.

B)is a relentless parable of a sensually insatiable woman's destruction.

C)concerns street-wise profiteers and destitute middle-class.

D)portrays capitalism's connection to war.

Q2) Modern Times was so like Under the Roofs of Paris that René Clair's producers sued Charlie Chaplin.___

A)True

B)False

Q3) Potemkin's Odessa steps sequence is a powerful recreation of what it's like to be caught in an explosion of random violence.___

A)True

B)False

Q4) Which of these is the director whose free flow of images took the place of conventional narrative?

A)Alexander Pudovkin

B)Alexander Dovzhenko

C)F.W.Murnau

D)G.W.Pabst

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Chapter 5: The Hollywood Studio System: 1925-1955

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Q1) What was the model for the Hollywood studio system and who was the inventor of that model?

Q2) MGM ___

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

Q3) What element in a script took precedence over all other elements?

A)action

B)dialogue

C)costume

D)comedy

Q4) What happened to new actors/actresses ("neophytes")who entered the star system?

Q5) To what is classical cinema oriented and to whom?

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Chapter 6: American Cinema in the 1930s

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Q1) 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)?

Q2) What was impossible for director Frank Capra in movies? What was his core message?

Q3) Fred Astaire used dance as a metaphor for character,courtship,love,and,yes,sex.

A)True

B)False

Q4) What replaced the sight gag in comedies when sound was introduced?

A)wisecrack

B)fast talk

C)double entendre

D)non sequitur

Q5) What was it that Fred Astaire managed to achieve through his dance musicals in the 30s?

Q6) In American movies,which is the more powerful thematic impulse: idealism or pragmatism?

Q7) What things did the Production Code prohibit in movies?

Q8) With what character type was John Ford preoccupied in his movies?

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Chapter 7: European Cinema in the 1930s

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Q1) Who of the following often built movies around an "innocent man on the run" theme?

A)Michael Powell

B)Alexander Korda

C)John Grierson

D)Alfred Hitchcock

Q2) The Blue Angel is characterized by which of the following:

A)woman as devourer

B)man as avenger

C)love as redemption

D)all of the above

Q3) What sense of fate did Max Ophüls achieve in his use of circular narratives?

Q4) Hitchcock's movies tended to follow a "structure of the Sennett chase,accelerating rush towards a climactic resolution." ___

A)True

B)False

Q5) Did Marcel Carné make "film noir" movies?

Q6) What film movement brought Great Britain its first distinctive form of filmmaking and what was its goal?

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Chapter 8: American Cinema in the 1940s

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Q1) social realism ___

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) The movie that made Humphrey Bogart a star was

A)High Sierra

B)African Queen

C)The Caine Mutiny

D)Moby Dick

Q3) John Huston early in his directing career showed a gift for multi-layered filmmaking.

A)True

B)False

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Chapter 9: European Cinema in the 1940s

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Q1) The Eternal Jew ___

A)won 5 Academy Awards including Best Picture

B)a typical Nazi cinematic lie

C)finest French film of the occupation

D)superb political thriller with James Mason

E)coined the term "neorealism"

F)Michael Powell film,very popular in America

G)film industry emerged intact

H)The Open City

I)best of "heroes of Mother Russia" films

J)won Best Actress award for The Rose Tattoo

Q2) 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

Q3) Visconti's Ossessione,loosely based on The Postman Always Rings Twice,is said to

A)True

B)False

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Chapter 10: American Cinema in the 1950s

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Q1) What are some of the characteristics of American social realism as seen in movies like Stanley Kramer's The Defiant Ones?

Q2) High Noon ___

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) All of the following is true of Norma Jean Baker except

A)was married at 16

B)was trained at the Actors Studio

C)was not considered a serious actor

D)was Marilyn Monroe

Q4) Why was Otto Preminger's challenge to the Production Code important to Hollywood movies?

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Chapter 11: International Cinema in the 1950s

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Q1) Fellini rejected autobiographical themes to concrete on social concernes in movies like 8 ½ .___

A)True

B)False

Q2) Despite his Western sources of inspiration,Kurosawa remained totally traditional in his values.___

A)True

B)False

Q3) Was Federico Fellini a realist or formalist/ fabulist in his movies of the 50s?

Q4) A Man Escaped ___

A)Kenji Mizoguchi film about the middle class

B)Robert Bresson movie set almost entirely in a jail

C)Bergman's only successful comedy

D)creates a hauntingly diaphanous dream world

E)Yasujiro Ozu film of a widower's sacrifice

F)basis for The Magnificent Seven

G)Fellini movie about decadence of the privileged

H)means "song of the road," won Cannes Jury Prize

I)Ingmar Bergman's allegory set in medieval times

J)established Toshiro Mifune as a star

Page 13

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Chapter 12: American Cinema in the 1960s

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Q1) Stanley Kubrick made all of the following statements except A)"The commie conspiracy has contaminated my precious bodily fluids "

B)"I'm interested in the brutal and violent nature of man "

C)"What I'm after is a majestic visual experience "

D)all of the above

Q2) Movies made in the late 60s were often characterized by A)small budgets.

B)rebels against the mainstream.

C)no-name or unimportant stars.

D)all of the above

Q3) How were New York and television-trained films directors regarded by "Hollywood regulars"?

Q4) Films became more strident as the 60s neared the end because of

A)The National Rifle Association

B)Vietnam

C)The Civil Rights Movement

D)Psychedelic music

Q5) New movie directors in the 1960s often got their training in television.___

A)True

B)False

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Chapter 13: International Cinema in the 1960s

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Q1) How was the pessimistic view of the world realized in the films of Britain's Angry Young Man movement?

Q2) What qualities made the "spaghetti westerns" of Sergio Leone of Italy more than Bmovies?

Q3) Acting in Kitchen School realistic movies was characterized by being A)physical.

B)psychological.

C)sexy.

D)all of the above

Q4) Francois Truffaut ___

A)Hiroshima,Mon Amour

B)Le Voleur (The Thief)

C)The Loneliness of the Long Distance Runner

D)Shoot the Piano Player

E)A Hard Day's Night

F)Cleo from 5 to 7

G)Ashes and Diamonds

H)L'Avventura

I)Breathless

J)If

Page 15

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Chapter 14: American Cinema in the 1970s

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Q1) What was the status - fictional and real - of women in Hollywood in the 70s?

Q2) What happened to the conventions of classical cinema in the early 70s?

Q3) Allen's contemporary comedy of manners ___ j.One Flew Over the Cuckoo's Nest

A)Nashville

B)The Heartbreak Kid

C)Blume in Love

D)Raging Bull

E)Apocalypse Now

F)Manhattan

G)Sugarland Express

H)Rocky

I)The French Connection

J)One Flew Over the Cuckoo's Nest

Q4) George Lucas stuck to classical narrative conventions in American Graffiti,which ensured the movies impressive success for a young director.___

A)True

B)False

Q5) What was the character of the newly invented "blockbuster" movie as championed by Steven Spielberg?

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Chapter 15: International Cinema in the 1970s

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Q1) Australian directors invariably moved on to make movies in America where they

A)continued telling Australian-oriented stories.

B)met with mixed results.

C)had no success.

D)broke new ground because of better resources.

Q2) Australian cinema has been cited for its manliness: male bonding and virile friendships.___

A)True

B)False

Q3) Rainer Werner Fassbinder's favorite characters were lonely hearts of the middle class. ___

A)True

B)False

Q4) Which of the following national film movements waned in the 1970s?

A)Kitchen Sink

B)New Wave

C)both a and b

D)neither a nor b

Q5) What traits did many of the state-sponsored 70s films of Australia share?

Q6) How would French director Diane Kurys' female characters best be described?

Page 17

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Chapter 16: American Cinema in the 1980s

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Q1) All of the following are true of David Lynch movies except A)"a dream of dark and troubling things"

B)"make[s] the irrational seductive and terrifying at the same time"

C)successfully adapted Herbert's classic novel Dune for the screen

D)dredges up images and inchoate concepts from the subconscious

Q2) How did home-video tape players (VHS)influence movie making in the 80s?

Q3) One form of movie which gained renewed popularity with audiences in the 1980s was which of the following?

A)race car movies

B)military movies

C)spy movies

D)none of the above

Q4) The device which profoundly altered how people watched movies in the 1980s was which of the following?

A)the 8-track player

B)the color television

C)the 3-D glasses

D)the VCR

Q5) What was the influence of President Reagan and the conservative cultural climate he called for?

Page 18

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Chapter 17: International Cinema in the 1980s

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Q1) What was the character of the British film renaissance of the 80s?

Q2) Under the Brezhnev regime in the Soviet Union,Soviet filmmakers began to make more accessible and commercial films.___

A)True

B)False

Q3) Being from a naturally reserved culture,British filmmakers avoid the subject of sex at all costs in their films.___

A)True

B)False

Q4) Japanese audiences became increasingly internationalized in the 80s especially enjoying films made in

A)Germany

B)Australia

C)China

D)America

Q5) Wealth and women,especially in the Third World,go hand in hand as is made clear in the Turkish film Yol.___

A)True

B)False

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Chapter 18: American Cinema in the 1990s

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Q1) Foreign directors are often not as intellectual as American directors and so are assigned to direct standard,run-of-the-mill movies.___

A)True

B)False

Q2) Rita Collidge ___

A)Rambling Rose

B)Menace II Society

C)Ulee's Gold

D)Happiness

E)The Lion King

F)Unforgiven

G)Titanic

H)Barcelona

I)Sleepless in Seattle

J)Deconstructing Harry

Q3) Why were Woody Allen movies in the 90s usually unpopular with American audiences,but popular with European and Japanese audiences?

Q4) Did independent filmmakers of the 90s usually stay independent? Explain briefly.

Q5) How were gays and lesbians depicted in movies like The Birdcage in the 90s?

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Chapter 19: International Cinema in the 1990s

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Q1) The country that produces more movies each year than any other country in the world is

A)India.

B)Hong Kong.

C)America.

D)Great Britain.

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) The British director (actually Irish born)who was able to turn Shakespeare's plays into fully realized and effective movies was

A)Alan Parker

B)Iain Softley

C)Kenneth Branagh

D)Jim Sheridan

Q4) To what extent was American film dominance worldwide a positive and/ or negative force in the 90s?

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Chapter 20: American Cinema Since 2000

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Q1) Asian martial arts movies have long appealed principally to adult make because of their complex choreography and graphic violence.___

A)True

B)False

Q2) What has helped independent films find an audience?

Q3) Many Islamic filmmakers center their stories on children because the lives of children are less restricted than adult,women in particular.___

A)True

B)False

Q4) Ang Lee's movies stand out because of his attention to

A)setting details

B)narrative details

C)psychological details

D)period details

Q5) Alexander Payne's film career could best be described with the term A)humane

B)prolific

C)sardonic

D)serious

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Chapter 21: International Cinema Since 2000

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Q1) Because of Islamic codes concerning conduct and dress between men and women, Iranian filmmakers often make stories concerning

A)animals

B)war

C)children

D)clerics

Q2) Many successful movies like the Lord of the Ring Trilogy have primarily been international co-productions.___

A)True

B)False

Q3) Martial-arts movies,popular with young males,often are comprised of improbable events and cardboard stereotypes.___

A)True

B)False

Q4) British cinema has continued to languish in the 2000s.___

A)True

B)False

Q5) What do ethnic comedies in the 2000s usually deal with?

Q6) Why is the journey motif an effective story-telling device in movies?

Page 23

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