Q&A Hero

Q: Chingiz Aitmatov was a. the first director to make a feature film in Kirghizia. b. the famous novelist whose stories and screenplays are the basis of most Kirghiz films. c. the Kirghizian director whose work has been most successful internationally. d. the secretary of the Kirghiz Filmmakers Union who oversaw the rise of Kirghiz cinema. e. both b and d f. none of the above

Q: All of the following are significant Kirghiz directors EXCEPT a. Tolomush Okeyev. b. Bolotbek Shamshiev. c. Aktan Abdykalykov. d. Larisa Shepitko. e. None of the above are important Kirghiz directors. f. All of the above are important Kirghiz directors.

Q: The Kirghiz film industry a. is too small to sustain any significant international coproduction. b. is small but well equipped with cameras and production facilities. c. has the smallest of all the Central Asian studios. d. has produced no feature films since independence. e. both a and b f. none of the above

Q: The cinema of Tajikistan a. was very active during the silent period but went into decline when sound arrived. b. produced only a handful of films before the 1980s. c. has never produced films that have achieved international acclaim. d. has steadily produced between five and ten films a year for fifty years. e. is limited only to the production of documentaries, animation, and experimental film. f. none of the above

Q: Davlat Khudonazarov a. is not a director but does run the Tajik film industry. b. was an important director of silent Tajik cinema. c. is one of the few directors in the Central Asian republics to have been a supporter of the Soviet government. d. is an important director, most of whose films have been banned by first the Soviet then the Tajik governments. e. both a and c f. none of the above

Q: After the collapse of the Soviet Union, the Tajik cinema a. received state funding that continued unabated. b. immediately ceased the production of feature films. c. maintained a centralized government control over the film industry. d. was forced to rely on coproductions in order to finance its films. e. both a and c f. none of the above

Q: Ishmukhamedovs The Shock a. is about government corruption and organized crime in the cotton industry. b. was attacked by Mikhail Gorbachev as being contrary to the aims of perestroika. c. is a love story that spans the Stalin and Gorbachev eras. d. was a box-office failure that destroyed the directors reputation. e. both b and c 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: The Uzbek cinema in the 1990s a. collapsed as a result of the move to a market economy. b. continued to be entirely state subsidized. c. operated as a partnership between government and private industry. d. once produced over twenty feature films a year and now makes only two or three. e. both a and d f. None of the above are true.

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 place where the Soviet cinema was centered during the early 1940s and where Eisenstein made Ivan the Terrible, Part I and Part II was a. Moscow, Russia. d. Alma-Ata, Kazakhtsan. b. Tashkent, Uzbekistan. e. Tblisi, Georgia. c. Yerevan, Armenia. f. none of the above

Q: The impetus for the Kazakh New Wave was a. an influx of foreign capital into the Kazakh industry. b. a dramatic increase in government funding for Kazakh cinema. c. the creation of the Alma-Ata documentary studio. d. the dissolution of the Soviet Union. e. a program for Kazakh filmmakers at the VGIK. f. none of the above

Q: Armenian cinema a. did not emerge until the founding of the Yerevan Studio in 1971. b. began to be produced for the first time after Armenia joined the Soviet Union. c. produced its first feature films during World War II to promote anti-Nazi sentiment. d. produced its first feature film prior to joining the Soviet Union in 1922. e. first began intensive feature film production during the Stalinist era. f. none of the above

Q: The first film to emerge from the Kazakh New Wave was a. Kieps Last Journey. d. The Needle. b. Turksib. e. Pirosmani. c. Heat. f. none of the above

Q: Amo Bek-Nazarov a. was the founder of the Georgian cinema. b. is the most internationally acclaimed director to emerge from the Kazakh cinema. c. made the first Moldavian feature film in the 1930s. d. was the dominant figure in the early Armenian cinema. e. is the only internationally prominent filmmaker to emerge from the Kirghizian cinema. 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: A key source for financing Armenian films in the 1970s was a. the Telefilm Studios of Armenia. b. box-office revenues. c. international coproduction. d. private investment capital. e. the central film bureaucracy in Moscow. f. none of the above

Q: The Armenian cinema since the 1990s a. has depended on the activity of numerous Armenian filmmakers living outside the country. b. underwent a sustained production boom throughout the decade that became known as the New Armenian Cinema. c. has made an average of twenty feature films a year. d. has collapsed completely. e. has merged with the Georgian and Azerbaijan cinemas to form a single Transcaucasian industry. 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: All of the following filmmakers made films in Azerbaijan EXCEPT a. Boris Barnet. d. Amo Bek-Nazarov. b. Nikolai Shengelaia. e. Viktor Turin. c. Andrei Tarkovsky. f. All of the above worked in Azerbaijan.

Q: The Azerbaijani cinema after World War II was mostly characterized by a. documentaries. d. remakes of earlier Azerbaijani films. b. musicals and comedies. e. adventure films. c. political propaganda films. f. none of the above

Q: The Uzbek silent cinema a. did not exist, as films were not produced in Uzbekistan until after World War II. b. was the last to develop in Central Asia. c. produced pro-Islamic documentary films. d. was sporadic due to the lack of strong production companies. e. was predominantly documentaries and science films. f. none of the above

Q: The most important young VGIK-trained filmmaker to emerge in the Uzbek cinema of the 1960s was a. Vagif Mustafayev. d. Elior Ishmukhamedov. b. Artavazd Peleshyan. e. Larisa Shepitko. c. Eldar Shengelaia. f. none of the above

Q: The Georgian film that was the first in the Soviet Union to deal with the terror of the Stalinist era and so became a turning point for openness in the Soviet cinema was a. Mikhail Kalatozovs Salt for Svanetia. b. Georgi Shengelaias Pirosmani. c. Mikheil Chiaurelis The Vow. d. Tengiz Abuladzes Repentance. e. Otar Iosselianis When Leaves Fall. f. none of the above

Q: Georgi and Eldar Shengelaia a. always codirected their films, which they also wrote together. b. both worked with modern material unlike an earlier generation of Georgian directors. c. made films that encountered no problems from the Soviet authorities or censors. d. were the first directors to make a Georgian feature film. e. both made films that celebrated Georgian heritage and culture but in different genres. f. none of the above

Q: The films of Otar Iosseliani a. have remained politically inoffensive, accounting for his longevity as a director. b. have always been popular with Georgian audiences, sometimes running for a year in a single theater. c. have always been chosen by Soviet and Georgian authorities to represent the Georgian cinema internationally. d. have always received generous state support despite the films avant-garde qualities that have never made them popular favorites. e. both b and c f. none of the above

Q: The first group of Georgian filmmakers to be primarily trained at the Tblisi film school rather than at VGIK came to prominence in the a. 1980s. b. 1950s. c. 1970s. d. 1960s. e. 1990s. f. None of the above; most Georgian filmmakers are still trained at VGIK.

Q: When Georgia declared independence from the Soviet Union and Zviad Gamsakhurdia became president of the country, the film industry a. became completely independent of government control. b. had the central government directly control all access to film financing. c. almost doubled its production in the subsequent two years. d. remained centralized with a single production unit making all films. e. both a and c f. none of the above

Q: The contemporary Georgia cinema a. produces an average of over twenty films a year. b. suffers from a shortage of trained directors. c. is reliant on Western export markets for its survival. d. is all but nonexistent with many years producing no films at all. e. is no longer as popular on the international film festival circuit as it was in the 1990s. f. none of the above

Q: Each of the fifteen autonomous republics of the Soviet Union a. had its own film studio, all of which produced feature films. b. had its own film school that sent all its graduates to that republics studio. c. made films in Moscow since there were no facilities to do so in the republics. d. made films in the same language and cultural tradition. e. both a and b 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 Lithuanian cinema first began to produce significant and distinctive work a. during the silent era, when it was one of the strongest industries in Europe. b. during World War II when the cinema became a vehicle for anti-Nazi sentiment. c. in the 1960s when the first films of Vitautas appeared. d. with the stylized films of Algimantas Puipa in the 1980s. e. not until the dissolution of the Soviet Union and the rebirth of Lithuanian independence. f. none of the above

Q: Currently, Lithuania a. has virtually no film industry and no mechanism by which to produce feature films. b. is undergoing a major production boom as private investment is now driving the industry. c. produces between fifteen and twenty films a year primarily for export to the other Baltic countries. d. has a struggling film industry formally linked to Estonia and Latvia in a joint distribution venture. e. both b and c f. none of the above

Q: Is It Easy to be Young? is a film concerning the struggles of young people in which Soviet Republic? a. Moldavia d. Armenia b. Kazakhstan e. Latvia c. Lithuania f. none of the above

Q: The Latvian film industry a. has failed to adapt to the market economy and the government fully subsidizes all production. b. is essentially nonexistent with the exception of animation and documentary production. c. is popular domestically but has never won any international recognition. d. has a broad audience base in places like Finland, Lithuania, and Moldavia. e. has no policy for government support of film production or film culture. f. none of the above

Q: The brief brilliance of the Moldavian cinema was destroyed when a. the Soviets assumed control of the country, immediately attempting a program of Russification. b. the Brezhnev regime instituted a campaign against ethnic nationalism. c. Stalin-era Socialist realism made the mytho-poetic character of Moldavian film illegal. d. the breakdown in state funding that came along with Perestroika left the industry bankrupt. e. the Soviets closed the Moldavian studio in the 1970s in an act of political oppression. f. none of the above

Q: Film production in Estonia a. is remarkably consistent given its tiny population. b. only began after the period of Soviet domination ended. c. is entirely privately funded and so enjoyed a remarkable expansion in the 1990s. d. averaged an amazing ten films a year under the Soviets but collapsed after state funding ended. e. is, and always has been, nonexistent. f. None of the above is true.

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 early Georgian cinema a. did not produce its first feature film until after the coming of sound. b. produced many feature length documentaries before WWI but no narrative features. c. featured a collaboration between production companies and the Tblisi Theater Institute that continues until today. d. was held back because there were no movie theaters in Georgia prior to the Soviet era. e. both a and d f. none of the above

Q: When Shadows of Forgotten Ancestors was released a. it was a tremendous commercial success in the Soviet Union, where it played more widely than any film in Soviet history. b. it was heralded by the Soviet government as a landmark achievement in Ukranian culture. c. Parajanov was given permission to make any films he wanted as long as they were within a certain budget range. d. it enjoyed greater international acclaim than any Soviet film since Battleship Potemkin. e. only a and d f. all of the above

Q: After Shadows of Forgotten Ancestors, Parajanov a. wrote ten complete screenplays based on classical and folk literature that were never approved for production. b. never made a film in the Soviet Union again. c. was considered a hero in the Soviet Union and spent the next two decades as one of the countries most lauded filmmakers. d. was arrested on a variety of specious charges and sentenced to six years of hard labor. e. a and d are true. f. none of the above

Q: The Soviet director whose successful debut feature Ivans Childhood allowed him to make the controversial Andrei Rublev is a. Sergei Parajanov. d. Nikita Mikhalkov. b. Andrei Konchalovsky. e. Mikhail Romm. c. Andrei Tarkovsky. f. none of the above

Q: Tarkovskys films are notable for a. having all been shot in the Soviet Union but set in foreign countries. b. being mysterious and often narratively inaccessible. c. their narrative economy and brisk pacing, which has made them popular with Soviet audiences. d. their clear sense of political commitment. e. being the only Soviet made films to succeed at the American box office. f. none of the above

Q: The Tarkovsky film that deals with the spiritual response of a small group of people on a Baltic island to imminent nuclear holocaust is a. Andrei Rublev. d. The Sacrifice. b. Solaris. e. A Mirror. c. Stalker. f. none of the above

Q: Andrei Konchalovsky is relatively unique among the Soviet directors of his period because a. he was allowed to freely work in the United States and return to the Soviet Union with the governments support. b. he made small personal films with no real political content. c. he received the enthusiastic support of the government to make any film he wanted in the Soviet Union with no threat of censorship. d. his films were all extremely popular with both the public and the Communist party officials who oversaw the film industry. e. he worked exclusively at the studios in the Kazakh and Uzbek republics but was financed by Moscow. f. none of the above

Q: The artistic documentary a. blended documentary footage with reenactment to show the beginnings of the revolution in the Soviet Union. b. was a genre pioneered by Dovzhenko but practiced by all the major Soviet filmmakers. c. were docudramas exclusively about Stalin. d. was a decisive move away from Socialist realism in that it encouraged formal experimentation. e. both b and d f. none of the above

Q: After Stalins death, Khrushchev declared a. that Stalin had been the most powerful positive influence on the Soviet cinema since the revolution. b. that Stalin had lost touch with the reality of the country because he only knew it through the films he himself controlled. c. the end of Socialist realism. d. a commitment to continue the filmmaking policies that had been in place under Stalin, including severely limiting the graduates from VGIK. e. an end to all censorship and government control of cinema in favor of a free market/free speech model. 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: Under Khrushchev, the Soviet cinema a. continued to be brutally repressed as it was under Stalin. b. flourished, with production growing to over one hundred features a year. c. became centralized in Moscow with the studios of the Republics either closing or switching to documentary production. d. produced films that were popular domestically but never at international festivals. e. completely rejected the tenets of Socialist realism. f. none of the above

Q: The Khrushchev regimes more flexible attitude toward the cinema a. continued into the 1970s. b. ended only when he was removed from power in 1964. c. led to a higher number of films being produced but no real formal experimentation or social criticism in those films. d. ended in 1962 with a party-line attack on Kalatozovs The Letter Never Sent. e. ultimately resulted in the abandonment of Socialist realism as the official film style of the Soviet Union. f. none of the above

Q: Shadows of Forgotten Ancestors a. was Parajanovs first feature film. b. creates a strikingly realistic cinematic space. c. features a relatively immobile camera, relying instead on composition to tell the story. d. tells a modern story in a cinematically old-fashioned way. e. is notable for the clarity of the narrative and clear perspective of every image. f. none of the above

Q: All of the following are stylistic characteristics of Shadows of Forgotten Ancestors EXCEPT a. a dramaturgy of color. b. the use of sound and image to destabilize audience perception. c. atonal electronic music, instrumental folk music, and religious chants. d. the use of fish-eye lenses to warp perspective. e. the construction of a traditional and logically continuous representational space. f. All of the above are characteristics of Shadows of Forgotten Ancestors.

Q: Bulgarian cinema in the 1970s a. achieved international prominence with many films winning festival awards. b. was repressed by the government, ending the production boom that occurred in the 1960s. c. became increasingly commercial, avoiding stories about serious social problems. d. avoided historical films, focusing almost exclusively on contemporary subjects. e. both c and d f. none of the above

Q: In the early 1980s, the Bulgarian government commissioned four epic spectacles to be produced to a. commemorate Bulgarias achieving freedom from the Soviet Union. b. celebrate Bulgarias thirteen-hundredth anniversary as a country. c. capitalize on the international acclaim Bulgarian cinema had earned in the 1970s. d. be the first films of the nationalized Bulgarian industry. e. demonstrate the benefits of Communism to the Bulgarian people. f. none of the above

Q: All of the following were superspectacles commissioned by the Bulgarian government in the early 1980s EXCEPT a. Constatine the Philosopher. b. Khan Asparuh. c. Sun and Shadow. d. Boris the First. e. Master of Boiana. f. All of the above were government-sponsored superspectacles.

Q: The Bulgarian cinema after 1990 a. produced about twenty-five feature films and twenty-five television films a year. b. had one of the most sophisticated film laboratories in Europe. c. expanded dramatically as it responded to market forces. d. collapsed. e. turned increasingly away from international coproductions. f. none of the above

Q: The Romanian haiduk film is comparable in terms of plot and technique to the American a. musical. d. horror film. b. slapstick comedy. e. western. c. melodrama. f. none of the above

Q: Romanian director Mircea Daneliuc a. is the most prominent filmmaker to emerge from the Class of the 1970s. b. responded to Romanian dictator attacks on the culture industries by making films that dealt with taboo subjects. c. is narratively experimental mixing elements of cinema vert with flashbacks, flash forwards, and multiple points of view. d. made films that consistently were domestic box-office successes and critically lauded abroad. e. none of the above f. all of the above

Q: During World War II, the Soviet cinema a. relocated its production center from Moscow to central Asia. b. sent documentary cameramen to the front to get authentic war footage for newsreels. c. saw regional studios assume greater importance. d. produced morale-building films made by important Soviet directors like Eisenstein. e. made more realistic films than at any time since the 1920s. f. all 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: In the late 1940s and early 1950s, Soviet film production a. stabilized, producing about fifty feature films a year for the domestic and Eastern bloc markets. b. experienced an unprecedented growth as a result of the opening of new markets for Soviet films in Eastern Europe. c. contracted slightly, but Eisenstein, Pudovkin, Dovzhenko, and Trauberg all continued making films. d. sunk to its lowest output of feature films since the revolution. e. first began to regain the international prestige it enjoyed in the 1920s. f. none of the above

Q: Bulgarian cinema before 1950 a. was nonexistent. b. was limited to documentaries and educational films. c. had produced fifty-five films in thirty-five years. d. was already nationalized. e. both b and d f. none of the above

Q: Rangel Vulchanovs On a Small Island a. was the first Bulgarian feature film. b. was the first film made after the nationalization of the Bulgarian film industry. c. was the film that established the Bulgarian national genre of the black comedy. d. was considered a major turning point in the Bulgarian industry based on its stylized narrative. e. was the first Bulgarian film to enjoy widespread popularity in the West. f. none of the above

Q: The cultural thaw that inspired the explosions of film culture in other Eastern European countries a. never occurred in Bulgaria, which maintained an authoritarian control over cinema. b. was not needed in Bulgaria, which always gave its filmmakers unlimited political freedom. c. happened first in Bulgaria, so that by the late 1950s it had developed a vibrant film culture. d. had little effect on the content of the Bulgarian cinema. e. happened later in Bulgaria, which did not have its new wave until the late 1960s. f. none of the above

Q: In the early 1970s the Bulgarian cinema a. was first organized into independent production units. b. first established a national film school. c. was making about fifteen feature films per year. d. benefited from the policies of new leadership of the Bulgarian State Cinematography Corporation. e. produced a new generation of significant filmmakers. f. all of the above

Q: Which of the following was NOT a result of Titos policies concerning the Yugoslavian cinema? a. the construction of a modern studio complex b. the founding of the state film schools c. an increase in state funding of feature films d. the publication of a scholarly journal of film theory and criticism e. the strict imposition of Soviet-style Socialist realism f. all of the above

Q: The Yugoslav cinema of the early 1950s a. was entirely centered in Serbia. b. produced films at a slow but regular rate but made no narrative feature films. c. was virtually nonexistent. d. produced over five hundred compilation films, documentary shorts, and newsreels. e. both a and d f. none of the above

Q: The Basic Law on the Management of State Economic Enterprises and Higher Economic Associations by the Work Collectives a. introduced the concept of a strictly state-controlled, public ownership of the film industry. b. allowed individual production groups to raise their own funds through distribution contracts and coproductions. c. created the Committee for Cinematography, which oversaw all aspects of Yugoslavian film production. d. imposed a ticket tax on theater admissions to help fund the Yugoslavian cinema. e. caused the collapse of the Yugoslavian cinema. f. none of the above

Q: The Zagreb Studio focused on a. documentary. b. experimental short films. c. animation. d. big budget entertainment films that would compete with Hollywood. e. Communist propaganda. f. none of the above

Q: The Yugoslav novi film a. emerged in the years immediately after World War II. b. sought to free the cinema from ideological dogma. c. insisted on a straightforward, realistic presentation of the cinematic narrative. d. was interested in exploring the problems of Yugoslavias history. e. was politically conservative and won the support of the Yugoslav government. f. none of the above

Q: The most important director to emerge from the Belgrade novi film group, whose films equated sexual repression with political repression was a. Aleksander Petrovc. d. Vatroslav Mimica. b. Lordan . e. Slobodan . c. Makavejev. f. none of the above

Q: The Yugoslav black film was a. a Yugoslav mystery genre based on American film noir. b. an underground film movement in Yugoslavia directly critical of government policies. c. a dark satirical comedy style that became popular in Yugoslavia in the 1960s. d. the governments new term for the novi film when it fell from favor. e. a Yugoslav genre that emerged after World War II dealing with the disastrous effects of the war. f. none of the above

Q: The Prague Group a. was Yugoslav filmmakers who all had studied at FAMU. b. was known for producing absurdist social satires. c. avoided the volatile political content that characterized the novi film. d. made films that were popular with domestic audiences and foreign critics. e. all of the above f. none of the above

Q: The FAMU-trained Bosnian director, whose tragicomic films such as Do You Remember Dolly Bell? and When Father Was Away on Business made him the star of the Yugoslav cinema in the 1980s and 90s, is a. Aleksander . d. Emir Kusturica. b. Makavejev. e. . c. Lordan . f. none of the above

Q: The only one of the novi film directors NOT to return to work in the Yugoslavian film industry after the crackdown of the 1970s ended was a. Makavejev. b. Vatroslav Mimica. c. Aleksander . d. Krsto . e. . f. All of the above returned to work in the Yugoslavian industry.

Q: The Yugoslavian film industry differed from those of the other Eastern European countries in that a. it was organized into several semiautonomous production units. b. it generated the majority of its production funding from the domestic box office. c. filmmakers who were critical successes but whose films were not popular with audiences were guaranteed production financing. d. it was completely centralized under a single production authority. e. both a and c f. none of the above

Q: In the late 1990s after the Yugoslav cinema divided up into the Serbian, Bosnian, and Croatian industries a. they all became extremely productive, cumulatively far outproducing the Yugoslav industry of the 1970s and 1980s. b. production in all regions slowed to a small handful of films. c. the Bosnian industry emerged very strong while the other two were weaker. d. the Serbian industry has flourished while the Croatian industry has disappeared completely. e. the dark humor that characterized Yugoslav cinema disappeared from the films of Serbia, Bosnia, and Croatia. f. none of the above

Q: Prior to World War II, the Yugoslavian film industry a. had a rich tradition of film scholarship and criticism. b. produced the most distinguished films in Eastern Europe. c. was extremely well known for producing documentaries. d. produced an average of five feature films a year, almost all comedies and melodramas. e. was nonexistent. f. none of the above

Q: Stylistically, Mikls Jancss The Round-Up can be described as a. inspired by cinma vrit in its use of hand-held camera and natural lighting. b. highly choreographed long takes that emphasize the composition of groups of actors. c. a surrealistic blending of multiple exposures and camera tricks. d. Hollywood-influenced melodramas with overt political themes. e. comic political satire photographed in a straightforward style. f. none of the above

Q: In Jancss Red Psalm a. he abandons the long-take aesthetic moving toward a more conventional montage. b. he abandons political commentary, instead making a film celebrating Hungarian culture. c. he has the camera moving endlessly for the entire eighty minutes of the film. d. he uses a more conventional narrative structure that won him popular support but, for the first time, lost him critical acclaim. e. both a and b f. none of the above