Film History An Introduction 4Th Edition By Kristin Thompson – Test Bank
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Film History: An Introduction, 4e (Thompson)
Chapter 3 National Cinemas, Hollywood Classicism,
and World War I, 1913-1919
1) World War I severely curtailed filmmaking in which two
important movie-producing nations?
1. A)
Australia and New Zealand
2. B)
France and Italy
3. C)
Germany and the United States
4. D)
Russia and Germany
Answer: B
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2) Identify a true statement about the Autorenfilm that arose in
Germany during 1913.
1. A) It
was publicized on the basis of a famous writer responsible for the script or
the literary work from which the film was adapted.
2. B) It
displayed a fascination with pictorial beauty and an interest in intense
psychological exploration.
3. C) It
challenged realistic art with the use of a distorted, graphic style of
mise-en-scène.
4. D) It
was marketed as the work of a great auteur—that is, an esteemed director.
Answer: A
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3) TheStudentofPrague (1913)
was influential within the German cinema partly for its:
1. A)
highly exaggerated acting style.
2. B)
opulent set decoration.
3. C)
slow tracking shots.
4. D)
photographic special effects.
Answer: D
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4) Which European film of the mid-1910s was renowned for its
slow tracking shots, so much so that similar types of camera movement
subsequently were described using this film’s title?
1. A) Homunculus
2. B) Atlantis
3. C) Fantômas
4. D) Cabiria
Answer: D
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5) Which of the following was NOT a distinctively Italian film
genre of the silent era?
1. A)
diva films
2. B)
white telephone films
3. C)
strongman films
4. D)
frock-coat films
Answer: B
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6) Which nation’s cinema was well-known in the 1910s for its
tragic endings?
1. A)
Russia
2. B)
Canada
3. C)
Italy
4. D)
Germany
Answer: A
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7) Which of the following is NOT true of PathéFrères’s response
to World War I?
1. A) It
focused on its American distribution wing, releasing films made by independent
producers in the United States.
2. B) It
helped American films gain a greater share of the French market through its
distribution.
3. C) It
provided stable leadership for French film production by creating competitive
alternatives to Hollywood cinema.
4. D) It
backed away from vertical integration by concentrating on the distribution and
exhibition of films.
Answer: C
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8) Modern-day exposure to and understanding of Swedish cinema of
the 1910s is limited partly because of a 1941 fire that destroyed the negatives
of the silent-era pictures produced by:
1. A)
Svenska in Sweden.
2. B)
the Universum Film Aktien Gesellschaft (Ufa) in Germany.
3. C)
Nordisk in Denmark.
4. D)
the UnioneCinematograficaItaliana (UCI) in Italy.
Answer: A
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9) One of the most important Swedish film directors, known for
an austere and naturalistic style and for a favored mode of storytelling that
stressed the consequences of a single action, was:
1. A)
Mauritz Stiller.
2. B)
August Blom.
3. C)
Victor Sjöström.
4. D)
Georg afKlercker.
Answer: C
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10) Upon its formation in 1914, Paramount was instantly notable
as:
1. A)
the exclusive distributor of Italian historical epics in the United States.
2. B)
the first new firm invited to join the Motion Picture Patents Company since its
inception in 1908.
3. C)
the home studio of three of the world’s most popular movie stars: Charlie
Chaplin, Mary Pickford, and Douglas Fairbanks.
4. D)
the first national distributor in the United States devoted solely to features.
Answer: D
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11) Around 1917, Paramount was releasing about 100 feature films
per year and requiring theaters to show all of them to get any. This was an
early instance of the practice known as:
1. A)
run-zone-clearance.
2. B)
full slate scheduling.
3. C)
block booking.
4. D)
featherbedding.
Answer: C
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12) Which of the following was NOT a reason for the use of the
continuity script by the Hollywood studios in the 1910s?
1. A) to
allow a producer to estimate how much a given film would cost
2. B) to
settle the matter of which writers received screen credit on a film and under
what designation
3. C) to
guide editors in putting a film together
4. D) to
allow film practitioners working in separate departments to coordinate their
efforts
Answer: B
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13) During the mid-1910s, filmmakers experimented with ________,
lighting one part of the scene, motivated as coming from a specific source.
1. A)
three-point lighting
2. B)
effects lighting
3. C)
soft lighting
4. D)
low-key lighting
Answer: B
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14) Which of the following is NOT a characteristic of European
cinematic style during the 1910s?
1. A)
frequent cut-ins
2. B)
framing action in windows
3. C)
moving actors slightly to block and reveal key details
4. D)
reliance on deep sets
Answer: A
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15) D. W. Griffith’s TheBirthofaNation (1915)
was extremely controversial because:
1. A) it
was rented to exhibitors at exorbitant rates, ensuring a loss for theaters that
did not book it for a run of several months.
2. B) it
was released without a National Board of Review seal of approval.
3. C)
its multiple stories were intercut in a manner all but incomprehensible to
contemporary audiences.
4. D) of
its racist account of the role of African Americans in the post-Civil War
South.
Answer: D
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16) Cecil B. De Mille is often thought of today primarily for
his:
1. A)
historical epics of the sound era.
2. B)
low-budget Westerns.
3. C)
slapstick comedies.
4. D)
sophisticated romantic comedies.
Answer: A
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17) Keystone, the studio famous for its slapstick comedies and
for introducing movie audiences to Charlie Chaplin, was headed by:
1. A)
Thomas H. Ince.
2. B)
Mack Sennett.
3. C)
Ben Turpin.
4. D)
Hal Roach.
Answer: B
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18) Western star William S. Hart was well known for:
1. A)
his starring role in the very first Western, TheGreatTrainRobbery.
2. B)
his practice of wearing a white hat in all his films.
3. C)
playing criminals or men with shady pasts.
4. D)
specializing in fancy riding and stunts.
Answer: C
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19) The system of animation in which a figure is drawn on paper,
then a portion of its body is cut away and redrawn on a sheet of paper below
the figure’s remaining portion was commonly known as:
1. A)
the slash system.
2. B)
pixilation.
3. C)
the peg system.
4. D)
cel animation.
Answer: A
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20) Which of the following is NOT true of silent movies made in
minor producing countries like Argentina and New Zealand?
1. A)
They were seldom exported.
2. B)
They were typically shot on location.
3. C)
They were often preserved by government-run archives.
4. D)
They used national literature and history as sources for their stories.
Answer: C
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21) During the 1910s, Paris was the center for the international
circulation of U.S. films.
Answer: FALSE
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22) Following World War I, film industries in other countries
found that it was usually cheaper to buy an American film than to finance a
local production.
Answer: TRUE
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23) Russian film acting during the 1910s was known for being
intense and highly internalized.
Answer: TRUE
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24) The German blockade of film imports to several northern
European countries during World War I helped boost Swedish production.
Answer: TRUE
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25) During the 1910s, Hollywood studios favored staging within a
single shot and refined their approach by creating a complex choreography not
seen in earlier years.
Answer: FALSE
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26) In the classical Hollywood cinema, the chain of cause and
effect is rooted equally in social forces and character psychology.
Answer: FALSE
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27) Pick one of the following countries: Sweden, Russia, or
Germany. Analyze how social and cultural factors influenced the development of
style and/or narrative in that nation’s cinema of the 1910s.
Answer: Answer may vary.
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28) What is a “serial,” as it was known in the early silent era?
In what ways did the serial act as a transitional form between the one-reel
film and the feature? Support your answer with examples of notable serials and
characteristics of influential serial directors.
Answer: Answer may vary.
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29) Why did the Hollywood style emerge and develop as it did?
Identify the most important American movie firms of the 1910s, and summarize
how the economic objectives of those companies influenced the style of
storytelling subsequently labeled the “classical Hollywood cinema.”
Answer: Answer may vary.
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30) Select a scene from a European or American film of the 1910s
screened in your class, and explain how its visual style—mise-en-scène,
editing, or cinematography—might be different had that scene been shot, staged,
and assembled by a modern-day filmmaker.
Answer: Answer may vary.
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Film History: An Introduction, 4e (Thompson)
Chapter 5 Germany in the 1920s
1) Which of the following is NOT a reason for the growth of the
German film industry after World War I?
1. A)
the diminishing of anti-German sentiment in enemy countries
2. B) a
government ban on imported films
3. C) a
robust post-war economy
4. D)
exchange rates unfavorable to the German mark
Answer: C
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2) Directly after World War I, the leftist political climate in
Germany led to:
1. A) a
brief abolition of censorship.
2. B)
the liberal government’s nationalization of the film industry.
3. C)
the introduction of street films.
4. D) a
talent and technology exchange with the Soviet Union.
Answer: A
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3) Which of the following is NOT true of TheCabinetofDr.Caligari,
the first German Expressionist film?
1. A)
The actors exhibited jerky or dancelike movements.
2. B)
The film used stylized sets, with strange, distorted buildings painted on
canvas backdrops and flats in a theatrical manner.
3. C)
The actors made little attempt at realistic performance.
4. D)
The film exploited the Kuleshov effect by combining newsreel and staged
footage.
Answer: D
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4) Which of the following is true of the characteristics of
German Expressionist films?
1. A)
Expressionist acting was deliberately exaggerated to match the style of the
settings.
2. B)
Performances in Expressionist films consisted of carefully controlled physical
movements rather than the expression of emotions.
3. C)
They downplayed individual characters as central causal agents and often made
social forces the source of causes and effects.
4. D)
They used camera movements to convey character subjectivity and enhance
photogénie.
Answer: A
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5) Which narrative technique of German Expressionist literature
was adopted by scriptwriters for Expressionist films?
1. A)
the alienation effect
2. B)
the frame story
3. C)
the dangling cause
4. D)
the lying flashback
Answer: B
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6) During the 1920s, descriptions of German Expressionist films
often referred to the sets as:
1. A)
“invisible.”
2. B)
“threadbare.”
3. C)
“acting.”
4. D)
“fake.”
Answer: C
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7) In German Expressionist films, the narrative often pauses or
slows briefly when:
1. A)
sets are torn down and assembled in real time, as in the theater.
2. B)
elements of mise-en-scène align into eye-catching compositions.
3. C)
characters tell stories or describe troubling dreams.
4. D) an
unfastened moving camera replicates the perceptual subjectivity of characters.
Answer: B
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8) Which was NOT a common tactic for blending the elements of
mise-en-scène in a German Expressionist film?
1. A)
the use of elaborate tracking shots
2. B)
the juxtaposition of similar shapes
3. C)
the use of stylized surfaces
4. D)
the use of symmetry
Answer: A
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9) German Expressionism is distinctive primarily for its:
1. A)
montage cutting.
2. B)
camerawork.
3. C)
use of mise-en-scène.
4. D)
use of natural lighting.
Answer: C
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10) Camera movements and high or low angles were relatively rare
in German Expressionist films because:
1. A)
most German studios were not technically equipped to handle these demands.
2. B)
many directors had started their careers in German Expressionist theater and
were accustomed to arranging the action in a single location.
3. C)
during the war, German filmmakers had access only to Swedish and Danish movies
and they were influenced by the static compositions that dominated the style of
those films.
4. D)
many Expressionist sets used false perspective to form an ideal composition
when seen from a specific vantage point.
Answer: D
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11) Which of the following was NOT typically true of German
Expressionist narratives?
1. A)
They were set in exotic locales.
2. B)
They were told from the viewpoint of a mad narrator.
3. C)
They involved elements of horror or fantasy.
4. D)
They were set in the past.
Answer: B
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12) Which Fritz Lang film is set in the present and uses
Expressionist style to satirize the decadence of modern German society?
1. A) MadameButterfly
2. B) Mabuse, theGambler
3. C) Metropolis
4. D) Kriemhild’sRevenge
Answer: B
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13) German scenarist Carl Mayer is considered the main force
behind:
1. A)
the Kammerspiel genre.
2. B)
the “New Objectivity” trend.
3. C)
the German historical spectacle.
4. D)
the street film.
Answer: A
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14) Which of the following traits is NOT typically found in
Kammerspiel films?
1. A) a
limited number of settings
2. B) a
heavy reliance on intertitles
3. C) an
unhappy ending
4. D) a
story that takes place in a short span of time
Answer: B
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15) During the 1920s, Hollywood cinematographers and designers
visited German studios to pick up tips on the use of:
1. A)
color processes.
2. B)
zoom lenses.
3. C)
models.
4. D)
artificial lighting.
Answer: C
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16) TheLastLaugh (1924)
and Variety (1925)
were both internationally renowned for their:
1. A)
spectacular camera movements.
2. B)
rapid montage sequences.
3. C)
highly stylized performances.
4. D)
tragic endings.
Answer: A
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17) Which of the following production groups was NOT part of the
German distribution company Parufamet?
1. A)
Metro-Goldwyn-Mayer (MGM)
2. B)
Paramount
3. C)
Universum Film Aktien Gesellschaft (Ufa)
4. D)
Universal
Answer: D
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18) One of the significant factors in the decline of German
Expressionist cinema was:
1. A)
the onset of World War II.
2. B)
the departure of Expressionist filmmakers to Hollywood.
3. C) an
unofficial ban on German imports by exhibitors in England and France.
4. D)
the failure of Expressionist filmmakers to keep pace with the increased budgets
of mainstream German cinema.
Answer: B
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19) The German avant-garde theater of the mid-1920s became less
concerned with the depiction of extreme emotions (as exemplified by German
Expressionism) and more interested in:
1. A)
the ironies of the social situation.
2. B)
the purely pictorial quality of artworks.
3. C)
American popular culture.
4. D)
theories of human perception.
Answer: A
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20) In order to export their films to major markets outside
Germany, the big German production companies made films in the mid- to late
1920s that:
1. A)
featured performers who looked and acted like certain American movie stars such
as Charlie Chaplin and William S. Hart.
2. B)
contained no intertitles.
3. C)
emphasized their “Germanness” via the adaptation of classic German literature
and the use of famed German monuments and landmarks as settings.
4. D)
were stylistically indistinguishable from Hollywood pictures.
Answer: D
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21) Over the course of World War I, the number of active German
film production companies decreased by almost 80 percent.
Answer: FALSE
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22) During the inflationary period of the early 1920s, the
larger German production companies found it relatively easy to finance
historical epics.
Answer: TRUE
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23) German Expressionists favored extreme distortion to express
an inner emotional reality rather than surface appearances.
Answer: TRUE
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24) German Expressionist films emphasize the composition of
individual shots to an exceptional degree.
Answer: TRUE
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25) The return to a stable German currency in 1924 made it
cheaper for companies to finance a new film in Germany than to buy a film from
abroad.
Answer: FALSE
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26) The coming of sound combined with greater control over the
film industry by conservative forces created an emphasis on light entertainment
in German cinema during the late 1920s.
Answer: TRUE
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27) Explain how Germany’s film industry was able to thrive
during the early 1920s, a period of severe economic hardship and
hyperinflation. How did the film industry flourish while other industries were
devastated?
Answer: Answer may vary.
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28) German Expressionism in the cinema debuted with TheCabinetofDr.Caligari in
1920, years after Expressionism was well established in other art forms. What
techniques used in painting and theatrical design were adapted by Expressionist
filmmakers?
Answer: Answer may vary.
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29) How were the elements of mise-en-scène used in German
Expressionist cinema? Identify the important characteristics of costume,
setting, and figure behavior in these films, and explain how these elements
worked together; cite from the movies discussed in the text or from a film
screened in class.
Answer: Answer may vary.
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30) How did advances in technological resources—as implemented
by German studios after the war—influence the development of German film style
over the course of the 1920s?
Answer: Answer may vary.
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31) Identify the primary formal concerns of the “New Objectivity”
trend, and explain how the films of G. W. Pabst demonstrate those concerns.
Answer: Answer may vary.
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