Questions about film history Assignment
Order ID 53563633773 Type Essay Writer Level Masters Style APA Sources/References 4 Perfect Number of Pages to Order 5-10 Pages Description/Paper Instructions
1) I slogged through the mud with 16 mm film. My camera captured the true brutality of World War II, but much of it was cut out by the War Department. My other work, both as a screenwriter and later as a director, has a straightforward visual style. I’ve directed Humphrey Bogart on several occasions. Who am I, exactly?
a single point (s)
Answer:
Billy Wilder (A)John Huston (B)
John Ford (C)
Preston Sturges (D)2) Alfred Hitchcock is a director.
a single point (s)
Answer:
A) understood that the dialogue in a scene, not the visuals, was the most important factor in conveying the scene’s true power.
B) required that the audience have the same information as the character in every scene in order to put the viewer in the hero’s shoes.C) strategically pulled the viewer in and out of the light in order to manipulate the audience, withholding information one moment and then giving it the next.
D) understood that changing the tone of a film was unnecessary; if a director’s goal is to keep the audience guessing, the tone should remain consistent throughout.
3) I am a movement in the film industry. It could be said that I lean toward the visual style and techniques of the French new wave while sharing much of the Italian neorealists’ sociopolitical outlook. I frequently film in bars and factories, depicting working-class brawls and emphasizing a more realistic, guttural tone of voice. Which film movement do I belong to?a single point (s)
Answer:
A) noir filmB) Illustrations of difficulties
C) Kitchen-sink realism in the United Kingdom
D) Montage of Russians
4) I am a character type. Sydney Lumet, the director, was a pleasure to work with. I’m always conflicted, odd, and frequently contradict myself. I’m not completely likeable, but I’m endearing or righteous enough to elicit your sympathy, and I don’t fit the stereotype of a “movie star.”a single point (s)
Answer:
A) the adversary
B) the bad guyantiheroes
D) the main character
5) I am a filmmaking style. I’ve been accused of having a pessimistic disposition. Films that fall into my category have a strong visual influence from German cinema. Many of the directors who worked in my style were forced to flee Hitler’s Germany for Hollywood. Following WWII, the moviegoing public appeared to be disillusioned with the world and desired films with a darker tone. I was the one who delivered. My films frequently feature starkly contrasting shadows, dark alleys, and deceptive female characters. What kind of filmmaker do I consider myself to be?
a single point (s)Answer:
A) Neoliberalism in Italy
B) noir film
C) New wave in France
blaxploitation (D)
6) The emergence of a seamless, invisible storytelling style in which audiences were no longer expected to notice or admire things like camera work, editing, or sound was one of the groundbreaking notions running through the new spirit of American cinema during the early 1970s. During this time, the director’s personal vision became less important, and escapism ruled on all screens.
a single point (s)
Answer:
True
False
7) Which of the following epochs was influenced heavily by politics, race relations, sex, drugs, and the French new wave?
a single point (s)
Answer:
A) Films from the mid-1980s in the United States
B) Films from the United States in the early 1950s
C) Late-sixties American cinema
D) Films from the 1940s in Italy
8) I’ve been alive for a decade. Many important films were made during my lifetime, the majority of which occurred in my final years. A social revolution began to take hold, and I witnessed Hollywood undergo a transformation. The decline of the classic Hollywood Western and its revisionist treatment symbolized the end of the American suburban dream. For the first time in many years, American filmmakers began to adapt camera and editing techniques that were blossoming in the work of young French auteurs, and audience attendance began to rise. What time is it?
a single point (s)
Answer:
A) The 1960s
B) The 1950s
In the 1940s,
D) The 1980s
9) In the 1960s, European film witnessed the .
a single point (s)
Answer:
A) the birth of Italian neorealism’s semi-documentary style, which gave birth to the auteur theory and a director-as-artist movement that forever changed filmmaking
B) the emergence of the Czech new wave’s experimental, often semi-documentary style, in which young directors staged an aesthetic revolt against the old, domineering way of thinking within government halls.
C) the release of the English “angry young man” films, which were aesthetically and politically identical to the French new wave and Italian neorealism.
D) the beginning of McCarthyism, television, and method acting, all of which influenced and changed the style and technique of filmmaking for generations to come.
10) I strongly believe in allowing the audience to choose what to look at in the frames I create rather than relying too heavily on editing to tell them what to look at. It’s very important to me to keep everything in focus, aim for realistic, overlapping dialogue, and achieve exotic camera angles and shot compositions to emphasize a visual subtext in the scene. In the world of film, my name is synonymous with greatness. Who am I, exactly?
a single point (s)
Answer:
D.W. Griffith (A)
Charlie Chaplin (B)
Orson Welles (C)
John Ford (D)
11) I am a group of filmmakers at a specific time and location. Some of my friends began their careers as actors. Some of them are film students. They all have one thing in common: they dismantled barriers. They infiltrated the studios’ sacred halls and persuaded the old moguls to invest in their indie films. The result was a financially advantageous relationship in which the filmmakers were able to make their small films while the studios faced little risk. The films produced by this group were gritty, with rock-and-roll soundtracks, drug depictions, and a free spirit that emphasized defying a sociopolitical system that was increasingly being exposed as corrupt.
a single point (s)
Answer:
A) In the 1970s, American directors
B) In the 1920s, Russian directors
C) In the 1960s, French directors
D) Directors from Italy in the 1940s
12) I am a motion picture. I started as a result of young film fans becoming dissatisfied with the dull plot-driven cinema that had been coming out of my country for years. These young film buffs scorned that style of filmmaking, dismissing it as a relic of the past and advocating for a fresh approach. These young filmmakers believed that the director was to a film what the poet was to a poem, based on critical writing and then making their own films. Jump cuts, freeze frames, and self-reflexively looking into the camera are common visual elements in films made in my style, indicating to the audience that they are watching a movie. Is it true that I am?
a single point (s)
Answer:
A) New wave in France
B) Neoliberalism in Italy
A) social realism; B) social realism; C) social re
D) Theory of Russian Montage
13) I’ve been referred to as the “first” “art house” director. My joyless youth is said to have inspired visions of a cold, bleak, barren, godless world. My films frequently explore themes of loneliness and alienation, as well as deeper metaphysical meanings of things in the world, such as what it means to be human in the face of death. Is it true that I am?
a single point (s)
Answer:
Billy Wilder (A)
Ingmar Bergman (B)
Sergei Eisenstein (C)
Fellini, Federico
14) I am a country as well as an epoch. My director ordered my filmmakers to make as many films as possible showing the power of my history and historical leaders when the Nazis invaded me. I believed that all films should be accessible to the general public, and that anyone making art or “formalist” films had no place in my world. Is it true that I am?
a single point (s)
Answer:
A) The 1910s in Italy
B) The Soviet Union in the 1940s
C) The 1940s in Japan
D) The 1940s in France
15) I’m a movement in the film industry. In my country, I finally began to deal with the horrors of WWII. Lost, troubled, wandering souls who are spiritually or physically dislocated and trying to find their way are a common theme in the films under my umbrella. The impact of American culture on my country has been all-encompassing, and this issue is frequently a recurring theme for me. Is it true that I am?
a single point (s)
Answer:
A) German New Cinema
UFA (United Football Association)
C) Expressionism in Germany
D) New wave in France
16) is most closely associated with Subtext, Kazan, Brando, Stanislavsky, The Actor’s Studio, and Strasberg.
a single point (s)
Answer:
McCarthyism (A)
B) the method of action
neorealism (a) neorealism (b) neore
Citizen Kane (D)
a single point (s)
Answer:
A) Young filmmakers admired the government’s leadership and sought to make plot-driven films with a strong emphasis on suspense and action.
B) The “white telephone” films’ harsh realism depicted the harsh realities of life on the streets. The neorealists aimed to imitate these escapist romantic comedies.
C) Neorealist filmmakers used an audiovisually realistic style to depict the individual’s plight in a seemingly uncaring society.
D) The most popular films among young critics and general audiences alike were escapist films that harkened back to Italy’s glory days.
18) I am the result of a specific director’s efforts. Following WWII, I maintained a contemplative, pared-down, and quiet approach to story and technique. My director’s films had a restrained, minimal style that emphasized the quiet desperation of everyday, contemporary characters. The camera that depicted my stories was often motionless, sitting helplessly focused on long hallways or doorways, and plot was not as important to me. Is it true that I am the product of?
a single point (s)
Answer:
Ozu (A)
B) Akira Kurosawa
Billy Wilder (C)
Stanley Kubrick (D)
19) I’m a part of a movement. I began as a theoretical and political critique of how things were in town.
RUBRIC
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