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Film History An Introduction 4Th Edition By Kristin Thompson – Test Bank
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Film History: An Introduction, 4e (Thompson)
Chapter 2 The International Expansion of the Cinema, 1905-1912
1) Which of the following was NOT a significant factor in the expansion of the French film industry in the mid-1900s?
- A) the expansion of the largest motion picture firms
- B) the popularity of imported American films
- C) the targeting of more affluent audiences
- D) increased leisure time for French citizens
Answer: B
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2) The French screen comic Max Linder was important to early film history because:
- A) he was the most successful of the Chaplin imitators.
- B) he started the trend of French comics working in Italian films.
- C) his caricature appeared in the first French animated picture.
- D) his films reflected the French film industry’s bid for middle-class respectability.
Answer: D
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3) Which French director supervised Gaumont’s film production until 1908?
- A) Louis Feuillade
- B) Ferdinand Zecca
- C) Alice Guy
- D) Émile Cohl
Answer: C
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4) In Italy, cinema won respect as a new art form earlier than in other European countries primarily because of:
- A) the opening of many permanent movie theaters.
- B) the ubiquity of films projected at traveling fairs.
- C) the publication of serious film journals.
- D) tariffs imposed by the Italian government on exported films.
Answer: A
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5) Which type of film was NOT characteristic of Italian cinema of the 1910s?
- A) the multireel picture
- B) the historical spectacle
- C) the neorealist film
- D) the comic series
Answer: C
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6) Which European production company specialized in crime thrillers and somewhat sensationalistic melodramas?
- A) Film d’Art
- B) Nordisk
- C) Itala
- D) Ambrosio
Answer: B
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7) Which of the following is true of nickelodeons that spread in the United States between 1905 and 1907?
- A) They were seasonal.
- B) They were open only to select audience.
- C) They were more expensive than vaudeville houses.
- D) They were more regularly available than traveling exhibitions.
Answer: D
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8) Since 1897, the Edison company tried to force its competitors out of business by:
- A) importing multireel foreign films.
- B) suing them for patent infringement.
- C) producing films with more risque or salacious content.
- D) hiring away their biggest stars.
Answer: B
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9) In December of 1908, the Edison company and American Mutoscope & Biograph (AM&B) created the Motion Picture Patents Company (MPPC) to:
- A) gain a larger share of the U.S. market.
- B) encourage independent filmmakers in the United States.
- C) expand the distribution of American films abroad.
- D) encourage the production of feature-length motion pictures.
Answer: A
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10) The first distributor to effectively defy the Motion Picture Patents Company (MPPC) and start his own production firm—the Independent Motion Picture Company—was:
- A) William Fox.
- B) J. Stuart Blackton.
- C) Carl Laemmle.
- D) Harry Warner.
Answer: C
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11) Multireel films were uncommon in the United States in the nickelodeon era because:
- A) exorbitant production costs made them unprofitable.
- B) the Motion Picture Patents Company’s (MPPC’s) rigid release system allowed for only single reels.
- C) audiences could not follow the plots of many longer pictures.
- D) studios could not convince seasoned playwrights to work in Hollywood.
Answer: B
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12) The first American film companies were located in:
- A) Chicago.
- B) Southern California.
- C) Florida.
- D) New York and New Jersey.
Answer: D
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13) By the late nickelodeon era, every aspect of silent film style came to be used to:
- A) enhance narrative clarity.
- B) beautify a film’s female lead.
- C) showcase the talent of the actors.
- D) emphasize spectacle.
Answer: A
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14) Which of the following is NOT true of the use of expository intertitles in films circa 1914?
- A) They were used to set up the situation.
- B) They suggested characters’ thoughts more precisely than did gestures.
- C) They summarized the upcoming action.
- D) They were often written in the third person.
Answer: B
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15) The term “reframing” refers to:
- A) building a new lighting setup following the completion of a scene.
- B) the act of moving a camera toward an actor, from a long shot to a close-up.
- C) a slight readjustment used by the camera operator to keep an actor in the frame when he or she moves about.
- D) a return to a static shot of a character after he or she has had a dream or a flashback.
Answer: C
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16) In the silent era, what color tint was commonly used to signify an interior space at night?
- A) blue
- B) sepia
- C) amber
- D) violet
Answer: C
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17) In using analytical editing, a filmmaker:
- A) breaks down a single space into separate framings—for example, by cutting in closer to the action.
- B) cuts back and forth between two different spaces to imply that the actions in those spaces are taking place simultaneously.
- C) cuts from a shot in which characters leave the frame to a shot in which they reappear at the opposite side of the frame.
- D) cuts between two different spaces, such as a bank and a tenement, to make a social comment.
Answer: A
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18) An “insert” is a specific type of cut used in:
- A) parallel editing.
- B) contiguity editing.
- C) crosscutting.
- D) analytical editing.
Answer: D
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19) Which of the following shot combinations is best described as a shot/reverse shot?
- A) Shot A shows a character looking offscreen; Shot B shows what that character is looking at but not from his or her optical point of view.
- B) Shot A shows a character looking offscreen; Shot B shows another character looking in the opposite direction at the first.
- C) Shot A shows a character’s interior state; Shot B shows that character in his exterior surroundings (or vice versa).
- D) Shot A shows a character looking offscreen; Shot B shows what that character is looking at from his or her optical point of view.
Answer: B
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20) Which of following is one of the earliest animation techniques that made use of frame-by-frame animation of objects?
- A) pixilation
- B) cel shading
- C) rotoscoping
- D) skeletal animation
Answer: A
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21) Pathé developed a hand-stencil coloring system and was using it to add color to all its releases by 1905.
Answer: FALSE
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22) By 1910, Denmark was second only to France in the number of films it sent around the world.
Answer: FALSE
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23) During the U.S. nickelodeon boom, most films shown in nickelodeons came from abroad.
Answer: TRUE
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24) The Motion Picture Patents Company (MPPC) was an oligopoly because its member firms cooperated to control the U.S. market and block the entry of new companies.
Answer: TRUE
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25) By 1905, film companies began to give screen credit to actors and exploited their popular actors for publicity.
Answer: FALSE
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26) In or around 1909, filmmakers began to put the camera slightly closer to the actors so that their facial expressions would be more visible.
Answer: TRUE
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27) Surviving footage from the earliest known Indian feature film, RajaHarishchandra, reveals that its director understood and employed contemporaneous principles of western filmmaking.
Answer: TRUE
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28) What is the difference between vertical integration and horizontal integration? In your answer, discuss the strategies pursued by Pathé Frères in the mid to late 1900s.
Answer: Answer may vary.
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29) What were the factors behind the nickelodeon boom of the mid-1900s? What were the reasons for the nickelodeon’s popularity—what advantages did this type of exhibition venue offer to both theater owners and patrons?
Answer: Answer may vary.
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30) In what ways did the motion picture industry in the late 1900s attempt to make films more prestigious and film going more respectable? What pressures were producers and exhibitors responding to?
Answer: Answer may vary.
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31) Explain the difference between intercutting, analytical editing, and contiguity editing by providing a brief example (actual or hypothetical) of each.
Answer: Answer may vary.
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32) How did film animation develop in the early twentieth century? What types of animation techniques did the earliest animators use? Give examples of specific animators or from specific films.
Answer: Answer may vary.
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Film History: An Introduction, 4e (Thompson)
Chapter 4 France in the 1920s
1) A ________ involves several filmmakers, working for a limited period and usually in a single country, whose films share significant formal and stylistic traits.
- A) cycle
- B) genre
- C) series
- D) movement
Answer: D
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2) Which avant-garde movement of the silent era did NOT arise within a commercial film industry?
- A) Surrealism
- B) Soviet Montage
- C) French Impressionism
- D) Expressionism
Answer: A
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3) One of the significant causes of the disunity between the three sectors—production, distribution, and exhibition—of the French film industry in the 1920s was that:
- A) exhibitors favored American films that attracted the biggest audience.
- B) Pathé owned the biggest film exchange in France, while Gaumont owned most French movie theaters.
- C) producers had succeeded in forcing the government to limit imported films, thus cutting into distributors’ and exhibitors’ profits.
- D) distributors refused to handle films judged to be morally harmful by independent censorship boards.
Answer: A
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4) A lack of capital investment hampered French film companies in reequipping their studios to catch up with the technological innovations made by American firms during the 1910s, particularly in:
- A) special effects.
- B) set construction.
- C) lighting.
- D) camera techniques.
Answer: C
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5) On a film shoot, a French filmmaker of the late 1910s would typically light a scene:
- A) entirely with sunlight, even interiors.
- B) by starting with sunlight, then blocking off parts of the light to create dark patches within the set.
- C) as if lighting for a stage play, complete with spotlights following the major characters.
- D) by eliminating sunlight altogether and creating desired effects with artificial light.
Answer: B
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6) Which of the following is true of French serials produced in the 1920s?
- A) Having suffered a sharp decline in audience popularity, they died out by the middle of the decade.
- B) Owing to social pressures against the glorification of crime, they featured stories about master criminals less often than serials of the 1910s did.
- C) They attained astonishing success in Asian markets.
- D) They accounted for 80 percent of the total film production in France.
Answer: B
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7) The surviving work of André Antoine is admired for its:
- A) innovative narrative patterns.
- B) use of distortions and repetition.
- C) emphasis on visual rhythm.
- D) combination of naturalism and lyricism.
Answer: D
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8) In order to suggest the subjective effect of a musical passage in a scene from La Dixièmesymphonie, director Abel Gance:
- A) edited together a series of unrelated images at a rate of one every four frames.
- B) used pixilation to animate musical notes gliding along a staff.
- C) superimposed a dancer over piano keys.
- D) inserted a hand-colored sequence of abstract shapes.
Answer: C
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9) The most popular of the French Impressionist filmmakers was:
- A) Louis Delluc.
- B) Abel Gance.
- C) Marcel L’Herbier.
- D) Germaine Dulac.
Answer:B
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10) Which of the following production groups made important contributions to French Impressionism after having fled from Russia following the Soviet government’s nationalization of the film industry?
- A) Cinéromans
- B) Film d’Art
- C) Films Albatros
- D) Gaumont
Answer: C
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11) In 1920s’ France, the term “cinémapur” referred to:
- A) abstract films that concentrated on graphic and temporal form.
- B) the first specialized film journal, founded and edited by Louis Delluc.
- C) a campaign started by production companies to keep foreign films out of French theaters.
- D) a group of film enthusiasts devoted to alternative cinema.
Answer: A
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12) All French Impressionist theorists agreed that cinema should strive to distance itself from which art form?
- A) literature
- B) painting
- C) dance
- D) theater
Answer: D
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13) According to French Impressionists, the basis of cinema, photogénie, lay primarily in:
- A) the expressiveness of the actors.
- B) the relationships created by editing.
- C) the properties of the camera.
- D) the literary value of the script.
Answer: C
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14) Which of the following is NOT true of French Impressionists?
- A) They believed that emotions should be the basis for films.
- B) They argued that films should imitate literary narratives.
- C) They insisted that their attention to rhythm put their films closer to music than to any other art form.
- D) They treated the cinema as a pure medium, presenting unique possibilities to the artist.
Answer: B
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15) A typical characteristic of French Impressionist films is the use of:
- A) continuity devices such as shot/reverse shot and crosscutting.
- B) frame stories and open endings.
- C) extreme distortion to express emotional realities.
- D) superimpositions to convey character thoughts or memories.
Answer: D
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16) The French Impressionist film that contains the first known use of single-frame shots in film history is:
- A) Rose-France.
- B) Menilmontant.
- C) Kean.
- D) La Roue.
Answer: D
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17) Which of the following uses of mise-en-scène was NOT common in French Impressionist cinema?
- A) employing modernist décor
- B) employing stylized sets with distorted buildings
- C) shooting through a translucent object
- D) filming in real locations
Answer: B
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18) Jean Epstein’s La Glace à trois faces was unlike many French Impressionist films because of its:
- A) innovative and ambiguous narrative design.
- B) huge domestic commercial success.
- C) use of the triptych, an extremely wide projection format.
- D) use of extreme distortion to express emotional reality.
Answer: A
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19) Which of the following was NOT one of the factors that led to the diversification and the eventual decline of the French Impressionist movement?
- A) the impact of experimental films
- B) the diffusion of Impressionist style
- C) the popularity of Expressionist films
- D) the introduction of sound in films
Answer: C
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20) The introduction of sound motion pictures in the late 1920s made it virtually impossible for filmmakers to continue making Impressionist films primarily because:
- A) French-language films did not compete well in the world film market.
- B) sound production was prohibitively expensive.
- C) the introduction of sound drew film aficionados away from alternative cinemas (or ciné-clubs), which Impressionists had relied on for exhibition.
- D) film sound was disparaged by the movement’s foremost theorists as incompatible with photogénie.
Answer: B
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21) In the 1920s, French filmmakers went on location more often than did their counterparts in Germany or the United States.
Answer: TRUE
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22) Some Impressionist directors divided their time between avant-garde projects and more profit-oriented films.
Answer: TRUE
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23) Stylistic techniques in French Impressionist cinema most often functioned to convey character subjectivity.
Answer: TRUE
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24) Most of the narratives in French Impressionist films were as innovative and unconventional as the visual style.
Answer: FALSE
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25) Because some Impressionist directors were able to form their own production companies, and because of the support provided by ciné-clubs and small cinemas, the late Impressionist period saw a proliferation of short films.
Answer: TRUE
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26) French Impressionists failed to thoroughly explore character subjectivity as an element of filmic storytelling.
Answer: FALSE
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27) Perhaps the most important artistic trend of the early twentieth century was labeled “modernism.” Summarize some of the principal tenets of modernism and specify how these ideas influenced the development of French Impressionism (or German Expressionism [Ch. 5] or Soviet Montage [Ch. 6]) in film.
Answer: Answer may vary.
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28) What created the problems confronting French film production between 1918 and 1928? Identify the three primary factors as identified in the text and summarize the effects of each of these causes.
Answer: Answer may vary.
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29) The formal qualities of French Impressionism derived partly from the directors’ beliefs about the cinema as an art form. What were these beliefs? Explain how the Impressionists’ theories on the cinema translated to their films with regard to cinematography and editing.
Answer: Answer may vary.
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30) Why did French Impressionism decline as a unified filmmaking movement in the late 1920s? How did pressures from both inside and outside the movement influence this decline?
Answer: Answer may vary.
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