Accounting
Anthropology
Archaeology
Art History
Banking
Biology & Life Science
Business
Business Communication
Business Development
Business Ethics
Business Law
Chemistry
Communication
Computer Science
Counseling
Criminal Law
Curriculum & Instruction
Design
Earth Science
Economic
Education
Engineering
Finance
History & Theory
Humanities
Human Resource
International Business
Investments & Securities
Journalism
Law
Management
Marketing
Medicine
Medicine & Health Science
Nursing
Philosophy
Physic
Psychology
Real Estate
Science
Social Science
Sociology
Special Education
Speech
Visual Arts
Question
The film in which Buster Keaton plays a projectionist who falls asleep and dreams that he enters the action on the movie screen is
a. The Cameraman. d. Seven Chances.
b. The Navigator. e. The Playhouse.
c. Sherlock, Jr. f. none of the above
Answer
This answer is hidden. It contains 36 characters.
Related questions
Q:
The youth culture film that was produced for $375,000 and earned over $50 million at the box office, thus encouraging Hollywood to embrace the youth market, was
a. Medium Cool. d. Easy Rider.
b. Bonnie and Clyde. e. The Wild Bunch.
c. The Graduate. f. none of the above
Q:
All of the following are films directed by Stanley Kubrick EXCEPT
a. Barry Lyndon.
b. Eyes Wide Shut.
c. The Shining.
d. Medium Cool.
e. Full Metal Jacket.
f. All of the above are films by Stanley Kubrick.
Q:
The American film that began the now standard action film technique of filming a scene with multiple cameras with different-length lenses running at different speeds is
a. The Wild Bunch. d. Jaws.
b. The French Connection. e. Medium Cool.
c. Bonnie and Clyde. f. none of the above
Q:
The film that heralded the arrival of the New American Cinema was
a. The Wild Bunch. d. Easy Rider.
b. 2001: A Space Odyssey. e. Bonnie and Clyde.
c. Medium Cool. f. none of the above
Q:
In the 1970s, foreign films by directors like Fellini and Bergman
a. did not generally play in the United States.
b. were distributed by the major studios and played in first-run theaters.
c. only played in art house theaters, which experienced enormous growth during this time.
d. were actively blocked from major distribution in the United States by the studios.
e. both c and d
f. none of the above
Q:
Of the following Hollywood spectacles produced during the 1960s, which did NOT lose money?
a. Dr. Dolittle d. The Sound of Music
b. Hello, Dolly! e. Both b and d were enormous hits.
c. Cleopatra f. All of the above lost money.
Q:
In the 1960s, Hollywood
a. still led the world in all aspects of film production, aesthetics, and technology.
b. was still technologically innovative but failed to keep up with foreign industries aesthetically.
c. adjusted quickly to the fact that its audience was becoming older and less well-educated.
d. saw the size of its audience increasing while ticket prices also increased.
e. operated much as it had in the 1940s and 1950s with similar results.
f. none of the above
Q:
The war films of the 1980s
a. almost never dealt with the Vietnam war, instead focusing of World War II.
b. were almost always critical of the military.
c. were almost always pro-military.
d. were on the whole not commercially successful.
e. had no consistent ideological bias.
f. none of the above
Q:
In the late 1980s, American box-office receipts
a. were being steadily eroded by cable television and videocassettes.
b. were in the midst of a downward spiral caused by an ever-shrinking audience.
c. were at an all-time high.
d. rose substantially from the nadir of the previous decades but did not reach the levels of the studio era.
e. both a and b
f. none of the above
Q:
All of the following were significant genres during the 1980s EXCEPT
a. the slasher film.
b. sword and sorcery.
c. adventure/fantasy.
d. science fiction.
e. the western.
f. All of the above were important genres in the 1980s.
Q:
The slasher film
a. had a strong influence on mainstream horror, science-fiction, and thrillers.
b. was a short-lived genre and is now produced in small numbers.
c. never had a significant impact on the mainstream box office.
d. could not be shown initially on home-video or cable.
e. produced no significant directors.
f. none of the above
Q:
What percentage of American films produced in 1981 were slasher films?
a. 75 percent d. 25 percent
b. 60 percent e. 10 percent
c. 40 percent f. none of the above
Q:
Robert Altmans Nashville
a. is far more plot-driven than Altmans previous films.
b. is not about country-and-western music.
c. was first shown as an eight-hour miniseries on television.
d. earned ten million dollars, over four times its production costs but was still considered a failure by Hollywood.
e. represented Altmans move away from the use of overlapping sound.
f. none of the above
Q:
Robert Altmans cinematic style includes
a. the use of overlapping dialogue.
b. the use of both wide-angle and telephoto lenses.
c. satirical humor.
d. a high density of visual information in the frame.
e. multiple intersecting plot lines.
f. all of the above
Q:
Which of the following filmmakers would NOT be considered one of the film-school generation of the 1970s?
a. Francis Ford Coppola
b. Martin Scorcese
c. Steven Speilberg
d. George Lucas
e. Brian De Palma
f. All of the above are film-school generation filmmakers.
Q:
Which of the following is NOT one of the new producer-distributor organizations that arose in the late 1970s and early 1980s because of changes in the industry?
a. Orion
b. Tri-Star
c. Kinney
d. Ladd Company
e. All of the above were new producer-distributor organizations.
f. None of the above were new producer-distributor organizations.
Q:
In Hollywood economics, rentals refers to the
a. amount of money a film takes in at the box office.
b. percentage of the box-office receipts paid to the distributor.
c. percentage of the distribution fees paid to the producer.
d. amount of money retained by the exhibitor.
e. fees paid by the exhibitor to the producer.
f. none of the above
Q:
The Kazakh cinema
a. produced many distinguished silent films.
b. began when Kazakhstan joined the Soviet Union and started producing propaganda films.
c. did not produce its first film until after World War II.
d. began with the creation of the Alma-Ata documentary studio in 1937.
e. produced its first feature films in the 1950s, after the Stalinist period.
f. none of the above
Q:
The first Uzbek film shot and released in the Uzbek language was
a. The Shock. d. The Muslim Woman.
b. Kieps Last Journey. e. White, White Storks.
c. Farewell, Green Summer. f. none of the above
Q:
Prior to the Soviet Revolution, the cinema of Azerbaijan was
a. nonexistent.
b. dominated by a single filmmaker, Boris Svetlov.
c. already nationalized with central government control over production and distribution.
d. the most vibrant of all the republics.
e. oriented toward the production of slapstick comedy.
f. none of the above
Q:
Parajanovs Sayat Nova (also known as The Color of Pomegranates)
a. is the only film Parajanov made in Armenia.
b. was the last film Parajanov made in Georgia.
c. is told in a series of strange and complex tableaux.
d. is Parajanovs most formally conventional film.
e. both a and c
f. none of the above
Q:
The oldest and most sophisticated of the cinemas of the former Soviet republics was
a. Lithuania. d. Ukraine.
b. Armenia. e. Estonia.
c. Georgia. f. none of the above
Q:
The strongest category of film among the independent Soviet republics was
a. Baltic cinema. d. Central Asian cinema.
b. Slavic cinema. e. Moldavian cinema.
c. Transcaucasian cinema. f. none of the above
Q:
The influential director of The Cranes Are Flying, which won the Grand Prix at Cannes Film Festival in 1958 and announced to the world a revival of the Soviet cinema, was
a. Mikhail Romm. d. Sergei Eisenstein.
b. Mikhail Kalatozov. e. Grigori Chukhrai.
c. Sergei Parajanov. f. none of the above
Q:
Andrei Zhdanov
a. was the chief architect and enforcer of Socialist realism who banned the films of Eisenstein.
b. presided over the greatest expansion period in the history of the Soviet cinema.
c. was the most important director of the Soviet artistic documentary genre.
d. organized an anti-Semitic campaign that destabilized the Soviet film industry.
e. both a and d
f. none of the above
Q:
The director whose work probes the dark side of the mind and explores notions of reality and identity is
a. Christopher Nolan. d. Sofia Coppola.
b. Kathryn Bigelow. e. Steve McQueen.
c. Joel Coen. f. none of the above
Q:
The work of directors like Spike Jonze, Wes Anderson, and Alexander Payne suggests that American film comedy has turned toward
a. sophisticated absurdism.
b. broad, vulgar humor.
c. a greater simplicity of dialogue and narrative.
d. a high degree of realism.
e. intensified romanticism.
f. none of the above
Q:
The director noted for his dark humor and satirical depictions of contemporary American life in films like Election and Sideways is
a. David O. Russell. d. Paul Thomas Anderson.
b. Spike Jonze. e. Alexander Payne.
c. Wes Anderson. f. none of the above
Q:
The country in which torture porn has emerged as a serious artistic genre was
a. Italy.
b. France.
c. South Korea.
d. Russia.
e. Great Britain.
f. None of the above; the subgenre has only been produced in the United States.
Q:
Torture porn was
a. fantastically lucrative.
b. critically embraced as a critique of consumer culture.
c. only popular with a small but devoted niche audience.
d. produced exclusively in the United States.
e. never produced or distributed by the major studios.
f. all of the above