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Question
The Production Code
a. was scrapped in favor of the MPAA ratings system.
b. applied equally to both Hollywood studio films and foreign and independently produced films.
c. continued to be applied into the 1970s.
d. was never viewed as censorship but always as a gauge of audience taste.
e. was never challenged legally.
f. all of the above
Answer
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Related questions
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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
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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.
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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.
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The film that heralded the arrival of the New American Cinema was
a. The Wild Bunch. d. Easy Rider.
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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
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Of the following Hollywood spectacles produced during the 1960s, which did NOT lose money?
a. Dr. Dolittle d. The Sound of Music
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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.
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e. operated much as it had in the 1940s and 1950s with similar results.
f. none of the above
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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.
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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.
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e. both a and b
f. none of the above
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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.
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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.
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f. none of the above
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What percentage of American films produced in 1981 were slasher films?
a. 75 percent d. 25 percent
b. 60 percent e. 10 percent
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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
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Robert Altmans cinematic style includes
a. the use of overlapping dialogue.
b. the use of both wide-angle and telephoto lenses.
c. satirical humor.
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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
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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
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c. Kinney
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f. None of the above were new producer-distributor organizations.
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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
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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.
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a. The Shock. d. The Muslim Woman.
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e. oriented toward the production of slapstick comedy.
f. none of the above
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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.
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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
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The strongest category of film among the independent Soviet republics was
a. Baltic cinema. d. Central Asian cinema.
b. Slavic cinema. e. Moldavian cinema.
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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
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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.
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e. both a and d
f. none of the above
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c. Joel Coen. f. none of the above
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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
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a. David O. Russell. d. Paul Thomas Anderson.
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b. France.
c. South Korea.
d. Russia.
e. Great Britain.
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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