FLM 100 WEEK 5 QUIZ
1 In 1946 how many Americans out of a total population of 140 million went to the movies during an average week
a. Between 5 and 10 million
b. Between 25 and 30 million
c. Between 50 and 60 million
d. Between 80 and 90 million
2. Which Hollywood organization was alleged by the House Un American Activities Committee in 1947 to be dominated by communists?
a. The Hays Office
b. The Motion Picture Export Association of America
c. The Screen Writers' Guild
d. The Music Corporation of America
3. As part of a decision handed down in 1948, the Supreme Court ordered the Hollywood Majors to divest themselves of their:
a. Theater chains.
b. Talent agencies.
c. Distribution firms.
d. Studio spaces.
4. In the immediate post-World War II period, the U.S. government assisted film export through Commerce Department initiatives and diplomatic pressures because it saw American films as:
a. Increasingly too complex for American audiences.
b. Serving the purpose of pacifying audiences in unstable regions.
c. A reward for countries that had backed the U.S. during the war.
d. Effective propaganda for American democracy.
5. In the postwar period, the film import market in the U.S. was consistently dominated by films from:
a. England
b. Greece
c. Italy
d. Japan
6. The films of producer George Pal helped to lend a new respectability to which genre?
a. Horror
b. Melodrama
c. Science-fiction
d. Espionage
7. Which of the following is not a characteristic figure or narrative situation in the American films of director Alfred Hitchcock?
a. The guilty man tormented by the knowledge of his crimes.
b. The amoral yet charming killer.
c. The humdrum locale with tensions seething underneath.
d. The mentally disturbed woman.
8. In France, one year after the Blum-Byrnes accord of 1946 that eliminated France's prewar quotas on American films:
a. The number of both American imports and French productions increased.
b. The number of American imports increased and the number of French productions decreased.
c. The number of American imports decreased and the number of French productions increased.
d. The number of both American imports and French productions decreased.
9. The increased production of short films by new French filmmakers during the early 1950s was motivated by:
a. A shortage of available film stock.
b. A commission from the French government for cinematic adaptations of the short stories of Honore de Balzac.
c. A new appreciation for the documentary film aesthetic, as articulated within the new French film journals.
d. A provision in a French aid law that encouraged short filmmaking.
10. Which of the following qualities was not typical of the "Tradition of Quality" films?
a. A polished, studio-bound look
b. A reliance on adaptations of literary classics
c. An explicit critique of French society
d. A tragic end to romantic affairs
11. Which French artist and filmmaker was centrally involved with many of the most important avant-garde developments in France after World War I?
a. Jean Cocteau
b. Jean-Pierre Melville
c. Robert Bresson
d. Agnes Varda
12. Voice-over narration, in which the non-diegetic narrator reiterates and even participates in the dialogue of diegetic characters, was notably used in the films of:
a. Carl Dreyer
b. Jean Renoir
c. Carol Reed
d. Jean-Pierre Melville
13. The influence of the 1944 Swedish film Torment, scripted by Ingmar Bergman, is in part due to a visual style derived from:
a. Danish melodrama.
b. Abstract animation.
c. German Expressionism.
d. Italian Neorealism.
14. In the middle 1950s, sixty percent of the world's feature films were made:
a. In Japan
b. In the United States and Western Europe
c. In the Soviet bloc
d. Outside the western world and the Soviet bloc
15. The films that circulated most widely in the Middle East after World War II were produced in:
a. France
b. Iran
c. The Soviet Union
d. Egypt
16. For filmmakers working in Soviet bloc countries, the period immediately following World War II was typically one of:
a. Liberalization of film content.
b. Western-style modernism.
c. Tight political and ideological control.
d. Continued experimentation with Montage.
17. Which Soviet film genre underwent significant revision by young filmmakers during the "that" of the middle 1950s?
a. The war film
b. The tractor musical
c. The "artistic documentary"
d. The biographical picture
18. The film industry of which Soviet bloc country was the most "commercial" in Eastern Europe, able to enter into coproductions with the West and host runaway productions?
a. Poland
b. Hungary
c. East Germany
d. Yugoslavia
19. The Chinese "thaw" of 1956 and 1957, during which strict governmental controls were relaxed somewhat, led to a revival of production known as:
a. The Hundred Flowers movement.
b. The Cultural Revolution.
c. The New Humanism.
d. The Great Leap Forward.
20. After World War II, Indian film producers often financed their projects with funding from:
a. Film export profits.
b. The government.
c. Banks.
d. Distributors and exhibitors.
USA 
India