Q&A Hero

Q: Under the fascist rule of Francisco Franco, the Spanish cinema a. was almost completely unknown outside its own borders. b. produced an official film version of the Spanish Civil War written by Franco himself. c. was controlled by a private monopoly. d. was state supported and highly paternalistic. e. generally banned from exhibition the films of the Italian neorealist movement. f. all of the above

Q: UNINCI a. was the organization that banned Luis Buuel from ever working in his native Spain. b. was the Spanish film school. c. was the private monopoly that controlled film production in Spain during Francos reign. d. was the independent production company that led to the liberalization of film production in Spain. e. was the Spanish government censorship bureau under Franco. f. none of the above

Q: Jos Mara Garca Excudero was a. the director general of cinema in fascist Spain who liberalized state production subsidies, laying the groundwork for what he dubbed the New Spanish Cinema. b. the founder of the IIEC film school in 1947. c. a director of social satires who sponsored the Salamanca Conversations, Spains national film symposium calling for a move to more realistic films. d. the first important director to emerge from the New Spanish Cinema. e. the founder and owner of CIFESA, which oversaw all film production in Spain under Franco. f. none of the above

Q: Which of the following directors belongs to the first generation of the New Spanish Cinema? a. Pilar Mir. d. Jos Juan Bigas Luna. b. Carlos Saura. e. Guillarmo del Toro. c. Pedro Almodvar. f. none of the above

Q: The Danish film industry a. has a tradition that extends back to before World War I. b. operates without significant government support. c. produces less than five features every year. d. has never enjoyed more than a 10 percent share of the domestic box office. e. has had very little influence on international cinema. f. none of the above

Q: All of the following are ideas set forth in Dogme95s The Vow of Chastity EXCEPT a. the director must be credited last. b. no props may be brought to a location. c. the film must be in color. d. no musical score may be added to a scene. e. genre movies are forbidden. f. All of the above are Dogme95 rules.

Q: The Dogme95 movement a. was founded by a group of Swedish filmmakers to reinvigorate the industry. b. awards certificates to films that meet its rigorous criteria. c. has had no real economic impact on the film industry in its native country. d. has failed to produce any box-office hits but is internationally influential. e. dissolved after just a few years with the groups last films made in 1999. f. none of the above

Q: The Danish governments policies pertaining to film production a. have created a decentralized industry with numerous institutions and companies operating separately. b. have completely ignored production in favor of subsidizing distribution and exhibition. c. have boosted production to the degree that Danish films had nearly a 50 percent share of the domestic market in 2000. d. are nonexistent, as Denmark has moved away from government-subsidized cinema. e. are restricted to operating the National Film School and Danish Film Museum. f. none of the above

Q: Icelandic cinema a. is for all practical purposes nonexistent. b. has been producing films regularly since the silent era. c. has always operated without government subsidy. d. produces an average of six feature films a year. e. has never produced a major domestic box-office hit. f. none of the above

Q: Luis Buuels 1950 film Los Olvidados a. was Buuels first film produced in Spain since the 1930s. b. was the first film Buuel directed since 1932. c. was a popular comedy that made it possible for Buuel to make more serious films. d. was overlooked critically and commercially at the time of its release but is now considered a masterpiece. e. was photographed by the great Mexican cinematographer Gabriel Figueroa. f. none of the above

Q: Buuels Mexican films a. are few in number, because as soon as he enjoyed a bit of success he moved to France. b. are almost exclusively lightweight comedies and popular melodramas. c. reveal none of the surrealist influence that characterized his early films. d. are respectful of the traditions of the Catholic church. e. were never as popular domestically as they were in foreign markets. f. none of the above

Q: Buuels Viridiana a. became the first Spanish film to win the Palme dOr at the Cannes Film Festival. b. represents Buuels temporary re-embrace of Catholic church doctrine. c. is about a woman who transforms those around her through her kindness and devotion. d. shows poor beggars to be morally superior to the nuns in a nearby convent. e. was denied permission to shoot in fascist Spain because of its antifascist message. f. all of the above

Q: Swedish cinema a. has produced only a single filmmaker who produced notable works. b. is entirely privately financed though tax incentives, which makes such investments attractive. c. has grown into one of Europes largest film industries. d. produces on average less than ten films per year. e. is oriented toward export since the domestic market is so small. f. none of the above

Q: The Bergman film about a nurse and patient that collapses virtually every narrative convention of the cinema to suggest that both movies and individual identity are illusions is a. Scenes from a Marriage. d. Fanny and Alexander. b. Persona. e. Cries and Whispers. c. Through a Glass Darkly. f. none of the above

Q: All of the following are descriptive of Ingmar Bergman EXCEPT a. his primary cinematic influence was Carl Dreyer. b. throughout his career he was a great innovator of narrative form. c. his work shares the central themes of the great Scandinavian playwrights Ibsen and Strindberg. d. the outlook on the human condition in his films is profoundly pessimistic. e. religious and existential concerns remained consistent themes throughout his career. f. all of the above

Q: Bergman was able to make forty feature films with complete independence because a. his work was extremely popular at home and abroad. b. his work was not successful at the box office, but he was revered by Swedish critics. c. the structure of the Swedish film industry assured funding for all approved projects. d. although his films had big budgets they were popular enough in the United States to always make a profit. e. he was independently wealthy and financed most of his films himself. f. none of the above

Q: Finland a. is the only Scandinavian country whose film industry is not state subsidized. b. produces only three or four feature films a year. c. continues to be dominated by the distribution/exhibition company Finnkino. d. has produced no filmmakers of international significance. e. maintains a 25 percent share of the domestic box office for Finnish films. f. none of the above

Q: All of the following are descriptive of Dario Argentos cinematic style EXCEPT a. a constantly mobile camera. b. bizarre, grotesque special effects. c. tightly constructed narratives. d. a saturated color palette. e. abstract horror. f. None of the above are descriptive of Argentos work.

Q: The new style of Italian horror film that emerged in the 1980s a. was led by Mario Bava, who made several of the best films of the decade. b. was less graphically violent than its predecessors. c. focused primarily on vampires and Frankenstein-style monsters. d. is credited to the repulsive yet poetic zombie films of Lucio Fulci. e. was never as popular with audiences as the earlier generation of horror films. f. none of the above

Q: The Italian film industry today a. produces about twenty feature films a year. b. no longer produces the horror films that were once an industry staple. c. is structured so as to make independent production nearly impossible. d. accounts for less than 10 percent of Italys domestic box-office earnings. e. is dominated by two gigantic distribution companies. f. all of the above

Q: The French and Italian film renaissances of the 1960s a. turned cinematic expression away from narrative and toward philosophy, psychology, and social criticism. b. produced only a handful of films that might be considered important to the history of the medium. c. never were commercially significant even if they had great influence on future generations of filmmakers. d. rarely used color or widescreen, preferring instead black-and-white and academy ratio. e. were the work of a very small number of filmmakers whose careers faded in the 1970s. f. all of the above

Q: The wide-angle lens a. has a relatively long focal length. b. is used to shoot relatively large subjects at short range. c. creates a narrowed depth of field. d. is rarely used in narrative filmmaking. e. ranges from 50 to 100mm in focal length. f. all of the above

Q: The zoom lens a. made optical tracking possible. b. is a variable focal-length lens. c. first came into widespread use in the 1960s. d. can be used to search a scene for a point of focus. e. allows the filmmaker to frame close-ups, medium shots, and long shots in a single roll of the camera. f. all of the above

Q: Which of the following films is notable for its innovative use of the zoom lens? a. Kubricks Barry Lyndon d. Antonionis LAvventura b. Welless Touch of Evil e. Fellinis La dolce vita c. Renoirs Rules of the Game f. none of the above

Q: The effect of the development of the zoom lens on the cinema has been a. negligible since it is used so little. b. to stimulate a new approach to subjective involvement and psychological affect. c. to make editing both more important and more dynamic. d. to almost completely replace the conventional tracking shot, which it closely resembles. e. to make dialogue more conventional and more important. f. none of the above

Q: The film that first brought Ingmar Bergman to international prominence was a. Sawdust and Tinsel. d. Persona. b. Torment. e. Wild Strawberries. c. Smiles of a Summer Night. f. none of the above

Q: Bergmans Wild Strawberries a. is an allegorical film about a knight playing chess with Death that concludes with the famous Dance of Death sequence. b. is based on a thirteenth-century ballad about a young girl who is raped and whose father then takes revenge. c. was his first film to win international acclaim, introducing Bergman as one of the worlds great filmmakers. d. is a lyrical film that moves between dreams, memories, and lived reality. e. was his first collaboration with cinematographer Sven Nykvist. f. none of the above

Q: The dominant theme of Bergmans trilogy of films that includes Winter Light and The Silence is a. the redemptive power of faith in a brutal world. b. the idea that human communication can bridge the spiritual divisions between people. c. the rejection of spirituality leading to a breakdown in human communication. d. the idea that God is in everyone and acceptance of divinity can lead to happiness. e. the problems of existing in a godless universe. f. none of the above

Q: The one major director of the Italian spaghetti western genre to go on to international prestige and influence was a. Maurizio Nichetti. d. Francesco Rossi. b. Dario Argento. e. Liliana Cavani. c. Marco Ferreri. f. none of the above

Q: The giallo is a type of a. Italian horror film. d. Spanish musical. b. Italian western. e. Scandinavian drama. c. Spanish crime film. f. none of the above

Q: The former cinematographer who directed Black Sabbath, the film that would set the style for subsequent Italian horror films, was a. Dario Argento. d. Riccardo Freda. b. Mario Bava. e. Sergio Leone. c. Lucio Fulci. f. none of the above

Q: Which of the following is the best description of a film by Bernardo Bertolucci? a. mythic, allegorical, and often based on classic literary sources b. intricate visual and narrative structure and expressionistic use of color c. plotless examinations of alienation in the modern world d. intensely researched semidocumentary recreations of historical events e. neorealist in its use of nonprofessional actors and loose narrative structures f. none of the above

Q: The director whose early critiques of bourgeois values (Fist in the Pocket and China Is Near) softened somewhat with his later literary adaptations (Devil in the Flesh and Pirandellos Henry IV) is a. Bernardo Bertolucci. d. Francesco Rosi. b. Ettore Scola. e. Gillo Pontecorvo. c. Marco Bellocchio. f. none of the above

Q: The postwar Italian director who not only writes all his own films but photographs them as well is a. Francesco Rosi. d. Vittorio De Seta. b. Bernardo Bertolucci. e. Pier Paolo Passolini. c. Elio Petri. f. none of the above

Q: Gillo Pontecorvos The Battle of Algiers a. is a film that questions Italys role in World War II. b. is an abstract, experimental feature that fragments time and space. c. was banned by the Italian government and never shown. d. led to a long, successful feature filmmaking career for Pontecorvo. e. is a documentary reconstruction of historical events. f. none of the above

Q: The films of Marco Ferreri a. are influenced by neorealism. b. are Marxist polemics comparable to the work of Godard. c. are erotic melodramas that often explore the fascist mind. d. are primarily historical films based on classic literary sources. e. are Italian exploitation films. f. none of the above

Q: The Taviani Brothers a. directed Good Morning, Babylon about Italian brothers working on Griffiths Intolerance. b. have enjoyed popular success in Italy but not on the international film festival circuit. c. directed Love and Anarchy, which explores sex and politics in fascist Italy. d. have never made films with a political perspective. e. are known for their intelligent comedies like We All Loved Each Other So Much. f. none of the above

Q: The films of Lina Wertmller a. are Marxist critiques of the Catholic church and the Italian government. b. often anger feminist and liberal critics with their seeming embrace of patriarchal fascism. c. are primarily romantic comedies. d. have never enjoyed international success. e. all have single-word titles. f. none of the above

Q: The Spanish film industry a. historically commands greater than a 50 percent market share of the domestic box office. b. generally produces about twenty feature films a year. c. relies heavily on public and private television stations for production financing. d. was once vibrant but cooled off substantially during the 1990s. e. produces primarily comedies, whereas it makes very few thrillers or horror films. f. none of the above

Q: Das neue Kino (the New German cinema) is related to other European modernist film movements through a. the fact that most of its directors began their careers in film criticism. b. its emphasis on tight, clear narrative construction. c. its reliance on government subsidy. d. its Marxist ideological perspective. e. the fact that its first films came out concurrently with Breathless and LAvventura. f. all of the above

Q: Which of the following directors is NOT one of the new generation of Italian comic filmmakers? a. Nanni Moretti b. Maurizio Nichetti c. Liliana Cavani d. Carlo Verdone e. Roberto Benigni f. All of the above are contemporary comic filmmakers.

Q: The films of German reconstruction produced in the years after World War II were called a. Heimatfilme. d. Autorenfilm. b. junger deutcher film. e. Trmmerfilme. c. das neue Kino. f. none of the above

Q: Michelangelo Antonioni a. never worked in the United States. b. retired from making films in the 1970s. c. had his first international commercial hit with Blow-Up. d. has worked in a variety of different genres as well as with a range of themes. e. generally avoided political subject matter. f. all of the above

Q: The peplum film is a. an Italian horror film. d. an Italian mythological epic. b. a Scandinavian action film. e. a genre of the New Spanish Cinema. c. an Italian western. f. none of the above

Q: All of the following are characteristics of Antonionis film style EXCEPT a. the theme of the individuals alienation from his environment. b. a focus on the internal psychological forces that underlie behavior. c. a subordination of plot to character development. d. extensive and expressive use of music. e. the virtual elimination of logical narrative transitions. f. All of the above are characteristic of Antonionis style.

Q: All of the following are stylistic characteristics of the spaghetti western EXCEPT a. a Mexican setting. d. shocking violence. b. baroque framing. e. an all Italian cast. c. an electronically synthesized score. f. all of the above

Q: Which one of the following is the Italian postwar filmmaker whose work most reflects the neorealist influence, particularly his early feature films like Il Posto, which feature little plot, real locations, and nonprofessional actors? a. Federico Fellini d. Ettore Scola b. Bernardo Bertolucci e. Ermanno Olmi c. Michelangelo Antonioni f. None of the above

Q: The Italian director whose epical religious films based on myth and allegory regularly attacked the Catholic Church and bourgeois culture was a. Michelangelo Antonioni. d. Marco Ferreri. b. Ermanno Olmi. e. Franceso Rosi. c. Bernardo Bertolucci. f. none of the above

Q: Pier Paolo Passolini a. was an important poet and essayist as well as being a director. b. was incorrectly accused of being a Communist and was blacklisted. c. was one of the few Italian filmmakers whose work shows no neorealist influence. d. always worked with original story material and never made literary adaptations. e. stopped making films because he lost the support of the Italian industry. f. none of the above

Q: Le cinma qubcois.was a. a film movement that came to prominence in the 1990s. b. a style of filmmaking that produced several international commercial successes. c. oriented toward the production of period dramas and explorations of Quebecs history. d. a movement of experimental, polemical films shot in 16mm and Hi-8 video. e. a film directed by Denys Arcand. f. none of the above

Q: Hollywood films are shot in Canada for all of the following reasons EXCEPT a. Hollywood is fighting for a larger share of the Canadian box office. b. Canadian crews are highly skilled and are paid lower wages. c. Canadian government tax breaks and subsidies make production much less expensive. d. Canada offers a wide variety of locations and often stands in for New York or Europe. e. there are excellent production facilities that are in the same time zones as New York and Los Angeles. f. all of the above

Q: Which of the following film industries experienced a significant decline in the 1950s? a. Great Britain d. United States b. Italy e. all of the above c. France f. none of the above

Q: Federico Fellini began his career in the cinema as a. a screenwriter. d. an editor. b. a director. e. an actor. c. a cinematographer. f. none of the above

Q: The film that marked Fellinis break with neorealism, telling an allegorical story of a circus strongman who abuses a young woman, was a. I vitelloni. d. . b. La strada. e. Fellini Satyricon. c. La dolce vita. f. none of the above

Q: Fellinis production team who worked with him throughout his career included all of the following EXCEPT a. cinematographer Otello Martelli. b. composer Nino Rota. c. screenwriter Ennio Flaiano. d. producer Carlo Di Palma. e. actress Giulietta Masina. f. All of the above worked with him throughout his career.

Q: The Fellini film, filled with fantasies and flashbacks, that tells the story of a directors struggles to make a film while suffering a creative block, is a. La dolce vita. d. . b. La strada. e. Amarcord. c. Fellini Roma. f. none of the above

Q: Fellinis work is characterized by a. tightly structured narratives. b. the recurring theme of alienation from the modern world. c. a move away from the two principle traditions of the Italian cinemathe epic and the humanist. d. a highly realistic representation of time and space. e. a thematic concern with the mystery of identity. f. all of the above

Q: Michelangelo Antonioni a. attended the Centro Sperimentale. b. worked as a critic and a screenwriter before becoming a director. c. first directed neorealist documentaries. d. broke away from neorealism with his first feature film. e. focused his early features on the problems of alienation among the middle class. f. all of the above

Q: Antonionis LAvventura a. equates film time and real time as every scene is the same duration it would be in reality. b. uses expressive editing to deconstruct time, showing the alienation of the characters. c. was his first film in color, which he used symbolically. d. ends with the discovery of the woman who disappeared earlier in the film. e. uses the Hitchcockian technique of telling the audience more about the mystery than the characters in the story know about it. f. none of the above

Q: The Antonioni film about alienation and industrialization that represents the first impressionist/expressionist use of color in the history of cinema is a. LAvventura. d. LEclisse (The Eclipse). b. Il deserto rosso (The Red Desert). e. Blow-Up. c. La Notte (The Night). f. none of the above

Q: David Cronenberg a. began his career making allegorical horror films that were both intelligent and gory. b. has always worked without the support of the CFDC. c. stopped working in Canada after the success of his first films. d. has only made a handful of films, but each one has been both expensive and popular. e. has worked in a wide variety of genres. f. all of the above

Q: The filmmaker who made several low-budget independent dramas before emerging on the international stage with The Sweet Hereafter is a. David Cronenberg. d. Denys Arcand. b. Atom Egoyan. e. Ted Kotcheff. c. Guy Maddin. f. none of the above

Q: The best description of the films of Guy Maddin would be a. low-budget dramas about family dysfunction and individual alienation. b. graphically grotesque yet intelligent horror films. c. experimental works that recall the style of German Expressionism and Soviet-style montage. d. stories about the French-speaking Qubcois culture. e. social realism with a distinct political perspective. f. none of the above

Q: Quebec a. has produced only one significant filmmaker, Denys Arcand. b. is only noted for producing documentaries and experimental films. c. has never produced a film that became a crossover hit in English-speaking Canada. d. has virtually no industry geared toward feature film production. e. both b and d f. none of the above

Q: The highest grossing Qubcois film of all time in the international market is a. Exotica. b. Les Boys. c. Bon Cop, Bad Cop. d. Jesus of Montreal. e. The Decline of the American Empire. f. none of the above

Q: The organization devoted to coordinating all the Canadian governments film-related activity is called the a. AFDC. d. CBC. b. NFB. e. CFDC. c. EMB. f. none of the above

Q: From the 1940s to the 1960s, Canada was known for producing a. avant-garde art films. b. finely crafted dramas. c. documentaries and animation. d. mostly musicals and comedies. e. nothing, since there were virtually no films made in Canada until the 1970s. f. none of the above

Q: The primary purpose of the Canadian Film Development Corporation was a. to limit the importing of American films into Canada. b. to produce documentary films about Canadian culture. c. to oversee all the Canadian governments film-related activity. d. to provide financing for Canadian feature films. e. to encourage the exporting of Canadian films to international markets. f. none of the above

Q: Which of the following was NOT a film-related policy of the Canadian government in the early 1980s? a. offering a 100 percent tax write-off for private investment in films b. providing guaranteed loans to producers as seed money for film production c. directly funding the production of experimental films and documentaries d. encouraging foreign production companies to make their films in Canada e. All of the above were Canadian government policies. f. None of the above was a policy of the Canadian government.

Q: The Canadian film industry a. is still largely funded by the CFDC. b. controls 75 percent of the gross distribution revenues for all films in the country. c. has never developed a skilled labor pool or significant indigenous producers. d. finally escaped the domination of the major American studios in the 1990s. e. is neither a significant exporter of theatrical films nor of television programs. f. none of the above

Q: The exponential expansion of feature film production in New Zealand from two in 1980 to fourteen in 1984 was due to a. foreign investment in the New Zealand industry. b. coproduction with Australia and Great Britain. c. the construction of the first major film studio in New Zealand. d. loopholes in the tax code that created investment incentives. e. the great success of New Zealands films at international festivals. f. all of the above

Q: Geoff Murphys epic film about the Maori uprising against colonial British rule in 1870 is a. Once Were Warriors. d. Utu. b. Vigil. e. Ngati. c. Good-bye Pork Pie. f. none of the above

Q: 1994 was a banner year for the New Zealand industry because a. the New Zealand Film Commission was founded. b. foreign investment in New Zealand films reached a new pinnacle. c. the first major film studio was constructed in New Zealand. d. a new tax incentive was passed that created investment incentives in film. e. of the release of Peter Jacksons Heavenly Creatures and Lee Tamahoris Once Were Warriors. f. all of the above

Q: Peter Jacksons early films can best be described as a. social realism. d. epic action films. b. introspective personal dramas. e. comically distasteful gore films. c. abstract art films. f. none of the above

Q: All of the following are reasons for Peter Jacksons being awarded the production of The Lord of the Rings trilogy by New Line Cinema EXCEPT a. his ownership of Weta Digital Ltd., a leading digital-effects house. b. his proving with The Frighteners that New Zealand could be a site for professional film production. c. the international success of Heavenly Creatures. d. the box-office performance of The Frighteners in the United States. e. the extremely sophisticated yet cost-effective special effects of Braindead. f. All of the above were factors in New Lines decision.

Q: By 2000, the New Zealand cinema was a. in a dramatic state of decline with production dropping to pre-1980 levels. b. booming because the indigenous market for films had finally grown large enough to support a large-scale industry. c. extremely unstable with a large number of films being produced in one year and almost no films made the next. d. was entirely based on the work of Peter Jackson, the only New Zealandbased filmmaker doing commercially viable work. e. doing well because of the number of foreign films and television shows using New Zealand as a location. f. none of the above

Q: Picnic at Hanging Rock a. is about the clash of alien cultures and environments in the Australian bush. b. is about the competition between rival Australian and American newsreel producers. c. is about the court martial of three Australian soldiers by the British army in the Boer War. d. features a man who destroys his family while attempting to live in harmony with nature. e. was the last film Peter Weir made in Australia. f. none of the above

Q: The Peter Weir film that documents the experiences of an Australian journalist in Indonesia during the fall of the Sukarno government is a. The Mosquito Coast. d. Witness. b. The Year of Living Dangerously. e. Fearless. c. Gallipoli. f. none of the above

Q: Paul Cox a. has directed several successful American films, including two with Paul Hogan. b. has mostly directed for television since his breakthrough film Caddie. c. is the most important filmmaker to emerge from New Zealand. d. has worked exclusively in Australia throughout his career. e. has never used government financing. f. none of the above

Q: The New Zealand-born filmmaker who enjoyed unusual success in Australia with several short films made at the AFTS before going on to direct Sweetie and The Piano is a. Roger Donaldson. d. Gillian Armstrong. b. Geoff Murphy. e. Jane Campion. c. Peter Jackson. f. none of the above