FLM 100 WEEK 6 QUIZ

FLM 100 WEEK 6 QUIZ
1 Which of the following was not a significant postwar documentary film genre
a.   Portrait documentary
b.   The ethnographic film
c.   The social observation film
d.   The compilation documentary
	
2.	Which of the following was not an influence on the emergence of Direct Cinema in the late 1950s and early 1960s?
a.   Television and its pressing need to fill airtime
b.   The emergence of optical sound-on-film recording
c.   The Italian Neorealist aesthetic
d.   The growth of 16mm production
	
3.	Most of the Direct Cinema films produced under the supervision of Robert Drew for ABC in the early 1960s center on:
a.   The evolution of a political campaign.
b.   The power exerted over the lives of individuals by social institutions.
c.   Sporting competitions and the sacrifices of athletes.
d.   A high-stakes situation to be resolved in a few days or hours.
	
4.	The films of the British Free Cinema movement and the photography of Henri Cartier-Bresson were major influences on:
a.   The Fluxus movement.
b.   Emile De Antonion's compilation documentaries.
c.   The "Candid Eye" directors.
d.   The French New Wave.
	
5.	Many fiction film directors from the various New Wave and young cinema movements of the 1960s used or borrowed all of the following conventions of Direct Cinema except:
a.   Shooting in available light.
b.   Direct sound recording.
c.   Footage apparently shot on the fly.
d.   The hand-held camera.
	
6.	Maya Deren made early, highly influential examples of all of the following types of avant-garde cinema except:
a.   The psychodrama
b.   The trance film
c.   The dance film
d.   The compilation film
	
7.	With his 1960 film Arnulf Rainer, director Peter Kubelka created a film wholly out of:
a.   Leaves and moth wings affixed to a transparent strip of celluloid.
b.   Clumps of pure white and black frames.
c.   Primary geometric shapes.
d.   Footage from a Hollywood film, altered with a hole puncher.
	
8.	American filmmaker Robert Breer was significant for his experiments in the early 1950s with:
a.   Single-frame filming.
b.   The animation of three-dimensional objects.
c.   Painting directly on the filmstrip.
d.   Multiple-camera shooting.
	
9.	In the elaborate psychodrama Anticipation of the Night, director Stan Brakhage links shots according to:
a.   Texture or color.
b.   Graphic similarities.
c.   False eyeline matches or point-of-view shots.
d.   Abrupt camera movements.
	
10.	The most notorious American "underground movie," the subject of a series of police busts in 1963 and 1964, was Jack Smith's:
a.   Christmas on Earth
b.   Flaming Creatures
c.   Dog Star Man
d.   Hold Me While I'm Naked
	
11.	In the early 1960s, each Hollywood studio's output stabilized at between:
a.   5 and 10 feature releases per year.
b.   12 and 20 feature releases per year.
c.   25 and 40 feature releases per year.
d.   70 and 90 feature releases per year.
	
12.	Twentieth Century-Fox saw a loss of over $40 million on the production of which early 1960s blockbuster?
a.   Tora! Tora! Tora!
b.   Cleopatra
c.   The Sound of Music
d.   How the West Was Won

13.	The long lens, which became fashionable for American cinematographers in the 1960s, tends to flatten the shot's space and:
a.   Make warm colors appear to recede into the background.
b.   Make lines at the edges of the frame appear curved.
c.   Overexpose the image.
d.   Soften focus.
	
14.	The 1960s films of Richard Lester, including A Hard Day's Night and Help!, created a vogue for:
a.   "False" flashbacks and enigmatic flashforwards.
b.   An ironic use of music.
c.   Wordless montage sequences backed by pop songs.
d.   Choppy transitions, in which a few frames from the last shot of one scene alternate with a few frames of the first shot of the next.
	
15.	In the original MPAA rating system, implemented in the mid-1960s, an "M" rating designated:
a.   Recommended for all ages.
b.   No one under sixteen admitted.
c.   Viewers under sixteen to be accompanied by parent or guardian.
d.   Recommended for viewers over sixteen.
	
16.	In the late 1960s, half of all American moviegoers were aged:
a.   12 to 16
b.   16 to 24
c.   25 to 39
d.   49 to 64
	
17.	Hollywood committed itself to almost entirely color film production by the late 1960s, primarily because:
a.   The television networks, having converted to color broadcasting, required color films.
b.   Of the decline of wide-angle, deep focus filming.
c.   Eastman discontinued its black and white film stock, the longtime industry standard.
d.   Many of the industry's veteran directors were retiring.
	
18.	In promoting its summer blockbuster film Jaws, Universal followed the lead of exploitation companies like American International Pictures and:
a.   Built word-of-mouth through a staggered, platform release.
b.   Filled stores with Jaws-related merchandise.
c.   Premiered a ten-minute segment of the film at the Cannes film festival.
d.   Saturated television with ads for the film.
	
19.	Because each 2970s studio could only afford to make two or three big-budget pictures per year, the rest of its annual slate was typically filled out with:
a.   Imported European art films.
b.   Genre fare revamped for young audiences.
c.   Hong Kong martial arts pictures.
d.   Action films targeted at minority audiences.

20.	Which classic Hollywood film genre was not successfully revived by New Hollywood directors in the 1970s?
a.   The musical
b.   The horror film
c.   The gangster film
d.   Science fiction