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

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TEST – CHAPTER 3 – AMERICAN CINEMA IN THE 1920s

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.

3. Each of the following is a thematic aspect of Charlie Chaplin’s best work except

4. conveying the pain of being human.

5. portraying the joy of being rich and powerful.

6. showing what it is to love more than to be loved.

7. dramatizing being ignored when one does not deserve to be ignored

8. Chaplin’s 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 Keaton’s 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 Lloyd’s 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

7. Which of the following films is not one of Douglas Fairbanks’ swashbuckling spectaculars?

8. The Mask of Zorro

9. The Private Life of Don Juan

10. The Iron Mask

11. The Thief of Bagdad

12. The female actor whose own career paralleled the development of movies themselves

was

1. Mary Pickford.

2. Mabel Normand.

3. Greta Garbo.

4. Lilian Gish.

5. Rex Ingram’s 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.

10.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.

11.Who of the following is considered a carefree flapper?

1. Clara Bow

2. Greta Garbo

3. Lillian Gish

4. Mary Pickford

12.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

13.What woman, at age 24, wrote a script for D. W. Griffith and later worked on the subtitles for his Intolerance?

1. June Mathis

2. Anita Loos

3. Francis Marion

4. Dorothy Azner

14.Silent films blended several arts except for

1. photography.

2. music.

3. acting.

4. special effects.

15.The film that opened Hollywood to sound in movies is

1. The Blue Angel.

2. Tabu.

3. The Jazz Singer.

4. 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

17.King Vidor’s 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

True/False

(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 Keaton’s analytically abstract humor is more in tune with modern sensibilities than Chaplin’s open vulnerability. ___

5. 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.

6. Tom Mix and Clara Bow best personified the early Hollywood era, its ascent from primitivism into aesthetic accomplishment. ___

7. Erich von Stroheim, who increased the latitude for serious filmmakers, was

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

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

9. Says Alexander Walker, “The silent stars were less mythic figures, but not quite human because they didn’t speak yet, giving emotions human shape.” ___

10.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

2. von Sternberg ___

3. a star who also teamed with Fairbanks

4. Mary Pickford ___ and Chaplin to form United Artists

5. King Vidor ___ d. The Navigator

6. F. W. Murnau ___ e. stellar career basically ended as a film

comedian after two years

6. Alice Guy-Blache ___

7. City Lights

8. Ed Lubitsch ___

9. Underworld and The Last Command

10. Harry Langdon ___ two of his best works

11. Buster Keaton ___ h. made The Last Laugh, stylized mise

en scene helped to wean audiences from

10. Charley Chaplin ___ rural romances

11. made The Crowd which deals with
something approaching real life

12. produced The Jazz Singer which included sound

Short Answer

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

2. What were some of the filmmaking techniques or qualities that made Buster Keaton’s early film comedies the antithesis of Max Sennett’s comedies?

3. What were some of the ways that Mary Pickford’s film career paralleled Hollywood’s evolution as the filmmaking capital of the world?

4. What was Hollywood’s 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?

3. What was the typical tone of the movies that women directors made in the silent era?

4. 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)?

TEST – CHAPTER 4 – EUROPEAN CINEMA IN THE 1920s

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. Kuleshov’s 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 Hitchcock’s 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.

4. Sergei Eisenstein’s overriding principle was kineticism which meant which of these?

5. movement outside the frame

6. movement inside the frame

7. careful attention to movement of the camera

8. all of the above

9. 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.

7. In Expressionism, which flourished in Germany, theorizes or uses all of the following
except

8. the artist’s emotional, personal reactions

9. exaggeration and dreamlike atmosphere

10. the faithful reproduction of the natural appearance of an object

11. heavy use of light and dark contrasts

12. The German director who served as the inspiration for other German directors such as

13. W. Murnau and Robert Wiene was

14. G. W. Pabst

15. Carl Mayer

16. Ernst Lubitsch

17. Max Reinhardt

18. Which of the following is a renowned Fritz Lang film?

19. Wings

20. Mother

21. The Eyes of the Mummy Man

22. Metropolis

10.The “Griffith of Europe” was the German director

1. Ernst Lubitsch

2. Fritz Lang

3. Emil Jennings

4. Walter Ruttman

11.Which of these is true about F. W. Murnau’s Nosferatu?

1. Dracula is very good looking.

2. Dracula lives in Paris.

3. Dracula is a kind of man-rat.

4. Dracula drinks blood in his bath.

12.G. W. Pabst’s Pandora’s Box

1. faithfully recreates the myth.

2. is a relentless parable of a sensually insatiable woman’s destruction.

3. concerns street-wise profiteers and destitute middle-class.

4. portrays capitalism’s connection to war.

13.Dadaism is the art movement that

1. despised realism.

2. emphasized the illogical or absurd.

3. used buffoonery and provocative behavior to shock.

4. all of the above

14.Un Chien Andalou is a surrealist film made by

1. Louis Buñuel

2. Salvador Dali

3. Both

4. Neither

15.Luis Buńuel, in film after film, took as his theme

1. various ways people are cruel to animals.

2. some attack on conventional morality.

3. support for capitalist-based society.

4. examination and application of the ideas of Carl Jung.

16.Abel Gance’s films are characterized by all of the following except

1. avant-garde techniques.

2. romantic sensibility.

3. restraint.

4. extreme length.

17.The French director who had an anarchist spirit but produced a light tone was

1. René Clair

2. Jean Renoir

3. Marcel Proust

4. Jean Vigo

True/False

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

1. Sjöström 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 Soviet’s emerging technique of manipulative cutting when it suited his purposes. ___

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

4. The Russians used tracking, panning, tilting, and the like to full effect. ___

5. Germany’s cinema was the only national cinema comparable to America’s in the 1920s. ___

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

7. Murnau was the first to make camera movement a style sufficient unto itself. ___

8. Zero for Conduct is a Dada film made famous for its slow-motion, dreamlike, surreal pillow-fight scene. ___

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

10.Abel Gance’s “polyvision” anticipates Cinerama. ___

Matching

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. L’Age d’Or

6. F. W. Murnau ___ f. The Lodger

7. Louise Brooks ___ g. Lulu in Hollywood

8. René Clair ___ h. Storm over Asia

9. Abel Gance ___ i. Spies

10. Luis Buñuel ___ j. Napoleon

Short Answer

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

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

3. 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”?

4. Explain Abel Gance’s “Polyvision” as an example of his extravagant filmmaking.

Essay Questions

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

2. What is/ are the difference(s) between expressionism and naturalism?

3. Do Fritz Lang’s symbols in his films keep his films from being realistic?

4. In what ways were Luis Buñuel’s (with Salvador Dali’s help early on) “attack” movies in terms of technique, imagery, and theme?

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