Q&A Hero

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: All of the following films were directed by Stephen Frears EXCEPT a. My Beautiful Laundrette. b. 1984. c. Sammy and Rosie Get Laid. d. Prick Up Your Ears. e. Dangerous Liaisons. f. All of the above are Stephen Frears films.

Q: The BFI-supported filmmaker whose personal and poetic films have gradually expanded in budget and scope from his early black-and-white shorts to the recent House of Mirth is a. Stephen Frears. d. Mike Hodges. b. Michael Radcliffe. e. Jim Sheridan. c. Terrence Davies. f. none of the above

Q: The Irish director who often writes his own scripts, winning an Academy Award for Original Screenplay for The Crying Game is a. Jim Sheridan. d. Neil Jordan. b. Stephen Frears. e. Peter Weir. c. Terrence Davies. f. none of the above

Q: In the 1990s, the British film industry a. hit one of its lowest periods of productivity of all time. b. saw the government take away tax incentives that once helped fund British cinema. c. limited the importing of Hollywood blockbusters by the major distributors. d. was not in the top ten internationally in terms of production (as measured by total production costs). e. saw an explosion in production of what became known as new age quickies. f. all of the above

Q: The Film Council a. was an umbrella organization that included the British Film Institute and the British Film Commission. b. was publicly funded, including income from the national lottery. c. had a mission to promote and finance coproduction with private corporations. d. had a mission to address the longstanding problem of distribution in the British industry. e. was part of a broad-based movement in Britain to stimulate independent film production. f. all of the above

Q: Between 2007 and today the British government a. increased economic support for The Film Council. b. closed tax relief loopholes and set new rate caps that discouraged production in the U.K. c. abolished the BFI. d. declared that the film industry no longer required public support since it was so profitable. e. bought both Pinewood and Shepperton studios, turning them into public assets. f. none of the above

Q: Cinesound was a. the only major production facility in Australia for almost twenty-five years. b. a British sound system that was developed to compete with Hollywood multitrack sound. c. a division of the BFI dedicated to the preservation of sound cinema. d. the studio funded by the Australian government in the 1970s. e. the production facility built by the Scottish Film Fund. f. none of the above

Q: All of the following were Australian government policies in the 1970s EXCEPT a. starting the Australian Film Development Corporation to subsidize the industry. b. financing films shot in Australia by foreign companies with international casts and crews. c. starting the Australian Film and Television School. d. tax incentives to help fund production. e. attracting foreign capital to help finance Australian production. f. all of the above

Q: AFC genre films a. were the only Australian films produced during the 1950s. b. were few in number as the program developed to produce them failed quickly. c. were the first Australian films to operate completely outside the realm of government subsidies. d. featured original screenplays about contemporary life in Australia. e. were intended to be cultural flagships of Australia. f. all of the above

Q: Which of the following was one of the two earliest movies to appear from the Australian film explosion of the 1970s? a. My Brilliant Career b. Mad Max c. The Adventures of Barry Mackenzie d. The Chant of Jimmy Blacksmith e. The Last Wave f. none of the above

Q: The Australian Cinema of the 1970s a. was largely overlooked in Europe, both in terms of major film festivals and box office. b. rarely focused on indigenous themes or concerns. c. was known for its innovative production design. d. was characterized by location shooting and use of natural light. e. flourished because of the countrys many well-equipped studios. f. all of the above

Q: The first two Australian films to penetrate the American market in the early 1980s were both about a. Crocodile Dundee. b. women struggling to survive alone in the Australian Outback. c. the struggles of contemporary Australian people to live in urban environments. d. the plight of the aboriginal people. e. British treachery and deceit during war. f. none of the above

Q: Which of the following Australian directors did NOT make the move to Hollywood production in the 1980s? a. Gillian Armstrong b. Bruce Beresford c. George Miller d. Phillip Noyce e. Fred Schepisi f. All of the above worked in Hollywood in the 1980s.

Q: The British director who went from tough gangster films like Get Carter to campy science fiction with Flash Gordon was a. Mike Hodges. d. Mike Figgis. b. Mike Newell. e. Michael Radford. c. Mike Leigh. f. none of the above

Q: The films of Ken Loach a. reveal a comic use for French New Wave techniques such as the jump cut and hand-held camera. b. are big-budget political thrillers primarily made in the United States. c. are characterized by bizarre, nearly hallucinogenic surrealism. d. are beautifully photographed and enigmatic in meaning with very little dialogue. e. are politically committed, though often comic, updates of social realism. f. none of the above

Q: Which of the following films were directed by John Boorman? a. Point Blank, Deliverance, and The Emerald Forest b. Women in Love, The Lair of the White Worm, and The Rainbow c. Performance, Walkabout, and Dont Look Now d. Hidden Agenda, Riff-Raff, and Raining Stones e. The Servant, Accident, and The Go-Between f. none of the above

Q: The British director known for his bizarre, surrealistic biographies of composers, poets, and other artists is a. Ken Russell. d. Ken Loach. b. Nicolas Roeg. e. Ridley Scott. c. John Boorman. f. none of the above

Q: All of the following films were directed by Ridley Scott, EXCEPT a. Blade Runner. b. Midnight Express. c. Alien. d. Gladiator. e. Thelma and Louise. f. All of the above were directed by Ridley Scott.

Q: Which of the following directors did NOT begin his career making television commercials? a. Ridley Scott b. Alan Parker c. Peter Greenaway d. Adrian Lyne e. Tony Scott f. All of the above began their careers making television commercials.

Q: Handmade Films a. was started by ex-Beatle Ringo Starr. b. only produced the films of Monty Pythons Flying Circus. c. produced the first feature films of Ridley Scott, Adrian Lyne, and Michael Apted. d. made Monty Pythons Life of Brian as its debut production. e. concentrated exclusively on comedies. f. None of the above is true.

Q: The narrative avant-garde filmmaker Peter Greenaway a. has always worked without the support of organizations such as the BFI and Channel 4. b. did his first filmmaking work for television commercials. c. makes films that are formally conventional but narratively experimental. d. has never made documentary films. e. has begun using digital technology to create layered imagery. f. none of the above

Q: David Puttnam a. came to the United States from England to serve as chairman of Columbia Pictures. b. produced the first films of Ridley Scott, Adrian Lyne, and Alan Parker. c. won an Academy Award for producing Chariots of Fire. d. produced films in both Ireland and Scotland. e. made The Killing Fields and The Mission for his own Enigma Company. f. all of the above

Q: Britains Channel 4 a. was the single largest producer of independent films in England by the late 1980s. b. financed films that showed only on television and never theatrically. c. produced only British films. d. operated exactly like the two BBC television services. e. was based on the model of the advertiser-supported ITV. f. all of the above

Q: All of the following are true of the British social realist cinema EXCEPT a. it brought the conventions of the French New Wave to British cinema. b. it never disappeared. c. it produced several important actors and directors. d. it left a legacy of the more honest and direct portrayal of sex, class, and power in the British cinema. e. it opened up the British cinema to a wider range of themes. f. all of the above

Q: The vast majority of commercially successful British films in the contemporary era come from the genre of a. social realism. d. narrative avant-garde. b. comedy. e. crime film. c. heritage cinema. f. none of the above

Q: Mike Figgis a. is often compared to Ken Loach because of his social realist style. b. is particularly associated with romantic comedy. c. continues to work primarily for British television. d. has had commercial success though he remains committed to more experimental work. e. worked as a documentary filmmaker before moving into features. f. all of the above

Q: Mike Leigh a. most often works without a screenplay of any kind. b. alternates between making commercial films and more experimental ones like Time Code. c. is particularly known for his romantic comedies. d. is a significant proponent of the museum aesthetic. e. works in the social realist spirit of the New Cinema. f. none of the above

Q: Mike Newell a. is known for his bold experimental work combining film and video. b. is known for having brought back the realist aesthetic of the New Cinema. c. only works in Great Britain, having resisted the lure of Hollywood that has attracted so many other British filmmakers. d. is one of the few major British directors to have never worked in television. e. has never made films that have been box-office successes. f. none of the above

Q: Richard Lesters visual style is characterized by a. somber realism, shot on location with a stationary camera. b. highly literate dialogue and theatrical settings. c. a comic use of zooms, jump cuts, and flashbacks. d. widescreen, color action spectacle. e. elaborate tracking shots and composition in depth. f. none of the above

Q: The Curse of Frankenstein and Dracula a. were both shot in black-and-white. b. contained little actual gore or violence. c. were praised by British critics at the time of their release. d. were both directed by Christopher Lee. e. were popular despite poor scripts and shoddy production values. f. none of the above

Q: British cinema in the late 1960s saw a. a decrease in American financial investment in the British industry. b. fewer foreign directors coming to England to shoot films than earlier in the decade. c. fewer British directors going to work in the American film industry than in the 1950s. d. a new, more visually aware generation of directors emerge. e. a pronounced resurgence in social realism. f. all of the above

Q: All of the following are associated with Hammer Films EXCEPT a. Carol Reed. b. Jimmy Sangster. c. Terrence Fischer. d. Peter Cushing. e. James Carreras. f. All of the above are connected to Hammer.

Q: The Free Cinema movement a. was influenced by the French New Wave. b. was dedicated to the significance of the everyday. c. produced primarily low-budget feature films. d. produced fictional films about common people. e. never showed their films publicly. f. all of the above

Q: The two future directors who edited the Oxford film journal Sequence were a. Tony Richardson and Karel Reisz. b. Lindsay Anderson and Tony Richardson. c. Lindsay Anderson and Karel Reisz. d. Karel Reisz and Jack Clayton. e. Tony Richardson and Jack Clayton. f. none of the above

Q: O Dreamland and Momma Dont Allow are examples of a. British New Cinema. d. Free Cinema. b. British social realism. e. the British New Wave. c. angry young man films. f. none of the above

Q: The two films that introduced British social realism in 1959 were a. Look Back in Anger and The Entertainer. b. both adaptations of successful plays. c. unsuccessful at the box office, showing that there was no audience for serious British films. d. Saturday Night and Sunday Morning and A Taste of Honey. e. both big-budget commercial films featuring major stars. f. none of the above

Q: Saturday Night and Sunday Morning a. was shot on location with unknown actors. b. had a budget less than one-third of the average British film. c. became the most financially successful British film since the 1930s. d. became the prototype for the British New Cinema. e. was Woodfall Filmss first completely independent production. f. all of the above

Q: All of the following are common traits of films of the British New Cinema EXCEPT a. they were shot in grainy, desaturated color. b. they were generally set in the industrial Midlands. c. they combined elements of neorealism, Free Cinema, and the French New Wave. d. they utilized unknown actors. e. they focused on rebellious, working-class youth. f. All of the above are traits.

Q: The British New Cinema a. continued through the 1960s and into the 1970s. b. declined about the same time as the French New Wave. c. moved to an urban setting but otherwise changed little to become the swinging London film. d. captured the general feeling of optimism among British youth of the period. e. produced very few films and was never commercially popular. f. none of the above

Q: The New Cinema director whose book The Technique of Film Editing influenced a generation of international filmmakers was a. Karel Reisz. d. John Schlesinger. b. Jack Clayton. e. Lindsay Anderson. c. Tony Richardson. f. none of the above

Q: Both Karel Reisz and Tony Richardson a. continued to produce equally outstanding work throughout the 1960s. b. have worked exclusively in Britain throughout their careers. c. experienced a general creative decline during the 1960s. d. saw their careers end shortly after the decline of the New Cinema. e. continued to work in the social realist style for the rest of their careers. f. none of the above

Q: The New Cinema director who went on to great commercial and artistic success with films such as Darling, Far from the Madding Crowd, and Midnight Cowboy is a. Karel Reisz. d. John Schlesinger. b. Jack Clayton. e. Lindsay Anderson. c. Tony Richardson. f. none of the above

Q: Jack Clayton a. began his career after the New Cinema movement was over. b. continued to work in the social realist style of the New Cinema throughout his career. c. had great Hollywood success with The Great Gatsby. d. turned to television directing in the 1960s after the decline of the New Cinema. e. directed horror films after his New Cinema debut. f. none of the above

Q: The War Game a. was a documentary about the Vietnam War. b. was never shown by the BBC. c. was banned from television only in Great Britain. d. was never released theatrically. e. was the last film Peter Watkins ever made. f. none of the above

Q: The American expatriate director who collaborated with playwright Harold Pinter on such notable films as The Servant and The Go-Between was a. Richard Lester. d. John Schlesinger. b. Joseph Losey. e. Jules Dassin. c. John Frankenheimer. f. none of the above

Q: The Quartermass Experiment a. was the first successful Hammer film. b. was based on a British TV series. c. was given a Certificate X, banning children from seeing the film. d. was a series of three films. e. all of the above f. none of the above

Q: The director whose six Moral Tales explore the conflict between spiritual and sexual passion in the individual is a. Eric Rohmer. d. Louis Malle. b. Jacques Rivette. e. Jacques Demy. c. Claude Chabrol. f. none of the above

Q: The Jacques Rivette film that after two years in the making was hailed as a great auteurist work by Cahiers du cinma and was seen by the Doinel family in The 400 Blows is a. Claires Knee. d. Out One. b. Paris Belongs to Us. e. Clo from 5 to 7. c. Lacombe, Lucien. f. none of the above

Q: Agns Vardas Clo de cinq sept (Cleo from 5 to 7) is notable for a. the fact that it shows its events in reverse chronology, or backwards. b. the way it moves back and forth between two different time frames. c. the way it depicts ninety minutes in the life of the protagonist in real time. d. the way it represents the relativity of time. e. the radical editing style that creates the sensation of no stable time frame. f. none of the above

Q: The New Wave director who was known for his light-hearted comedies and colorful musicals in which all the dialogue is sung was a. Claude Chabrol. d. Jacques Demy. b. Jacques Rivette. e. Louis Malle. c. Eric Rohmer. f. none of the above

Q: Jean Eustaches The Mother and the Whore a. was the first in a successful series of comic films for Eustache. b. dealt with Parisian life at the turn of the century. c. represented a return to a more classical style of filmmaking. d. was critically overlooked at the time of its release. e. could be considered the last authentically New Wave film of the movement. f. all of the above

Q: The French director of such thematically rich genre films as Shock Treatment and The Killing Game is a. Alain Robbe-Grillet. d. Constantin Costa-Gavras. b. Phillipe de Broca. e. Alain Jessua. c. Alain Tanner. f. none of the above

Q: Claude Lelouch differs from other directors of the New Wave in that a. he is not an auteur but a collaborator. b. his films blatantly appeal to a mass audience. c. he worked in a different time period. d. he does not use New Wave narrative techniques. e. his films are not visually engaging. f. all of the above

Q: Claude Sautet a. made films that viciously attacked the middle class. b. made films at the same time as the New Wave directors but was never considered part of the movement. c. made only comedies during his lengthy career as a director. d. was self-taught, never studying film or apprenticing with other directors. e. is particularly well known for his musicals in which all the dialogue is sung. f. none of the above

Q: Bertrand Tavernier is known as a director for a. his comedies in the tradition of Max Linder and Buster Keaton. b. his semidocumentary political thrillers. c. bringing back the tradition of quality by working with the very screenwriters Cahiers critics condemned in the 1950s. d. his commercial but thematically vapid version of the New Wave style. e. his sympathetic portrayals of the French middle class, who are the primary subjects of his films. f. none of the above

Q: Films like Sunday in the Country, Round Midnight, and Life and Nothing But, in addition to his brilliant documentary work and his support for young French filmmakers, have made which director the most respected of his generation? a. Claude Lelouch. d. Bertrand Tavernier. b. Maurice Pialat. e. Chris Marker. c. Alain Jessua. f. none of the above

Q: All of the following are true of the British cinema before and during World War II EXCEPT a. the British industry produced many important narrative films. b. the British produced many significant documentary films. c. British filmmakers combined documentary and narrative form during the war. d. for the most part, only Hitchcock and Korda made notable fiction films. e. the GPO production operation was renamed the Crown Film Unit. f. All of the above are true.

Q: The GPO was a. the largest British movie studio run by Michael Korda and specializing in costume films. b. the organization run by John Grierson that produced documentaries. c. the government organization focused on issues of film censorship. d. the movie studio run by Michael Balcon that specialized in satirical comedies. e. the government organization dedicated to ensuring that not too many American films were imported in Britain. f. none of the above

Q: The studio run by Michael Balcon that specialized in intelligent comedies during the postwar period was a. Hammer. d. Exclusive Films. b. GPO. e. Archers. c. Ealing. f. none of the above

Q: Hammer Films a. was founded by Alexander Korda. b. specialized in witty, intelligent comedy. c. favored a documentary style of production. d. produced science fiction, crime, and horror movies. e. was known for their big budget spectacles. f. none of the above

Q: Chabrols Le Boucher a. was widely reviled by critics and ignored by audiences when it was first released. b. was the last film he ever directed. c. was his first film about the violence of everyday life. d. was a departure for Chabrol in terms of genre and tone. e. features a sexual psychopath as the most sympathetic character in the film. f. none of the above

Q: The director who worked with Jacques Cousteau before achieving New Wave notoriety with Les Amants (The Lovers) and Zazie dans le mtro was a. Claude Chabrol. d. Agns Varda. b. Jacques Rivette. e. Jacques Demy. c. Eric Rohmer. f. none of the above

Q: Films like Numro deux, La Communication, and Comment a va? represent a departure for Godard because a. they combine film and videotape. b. they are committed to a Marxist ideology. c. they have conventional plots and characters. d. they were made in equal partnership with Jean-Pierre Gorin. e. they go back to a more classical form of filmmaking. f. none of the above

Q: Jean-Luc Godard a. retired from filmmaking in the early 1970s. b. continues to produce provocative work into the new millennium. c. maintained his ideological integrity by never directing television commercials. d. has since the 1990s made only conventional narrative-fiction films. e. has photographed all his films since 1980 himself. f. none of the above

Q: Alain Resnais is identified with the New Wave because a. he wrote for Cahiers du cinma with Truffaut and Godard. b. he was of the same generation and had the same lack of technical background. c. his first films appeared at the same time as Truffauts and Godards. d. he rejected the French literary tradition and embraced improvisational shooting. e. he was an auteur who did most of the creative jobs on his films by himself. f. all of the above

Q: Resnaiss primary thematic fascination is with a. the struggle between freedom and confinement. b. Marxist politics. c. the tension between spirituality and sexuality. d. the complexity of romantic relationships. e. the effect of time on human memory. f. none of the above

Q: The cinematographer who shot all of Resnaiss early features was a. Henri Deca. d. Sacha Vierny. b. Raoul Coutard. e. Jean Rabier. c. Nstor Almendros. f. none of the above

Q: In the 1960s, Resnaiss films became a. increasingly popular as he moved toward the mainstream in terms of technique and subject matter. b. more interested in emotion and romance than the workings of the human mind. c. increasingly unfashionable and unconventional as he pursued the logic of his own artistic development. d. more financially successful even though he maintained his experimental artistic style. e. nonexistent as he stopped making films altogether after 1968. f. none of the above

Q: Resnaiss Stavisky a. represented his return to filmmaking after five years of being unable to get a film produced. b. was both a critical and a popular success. c. has a score written by Broadway composer Stephen Sondheim. d. is about a financial scandal that toppled the French government. e. was shot in a style meant to evoke the look of two-strip Technicolor. f. all of the above

Q: Claude Chabrol a. unlike most New Wave filmmakers, was not influenced by Hitchcock or the American cinema. b. believed in filmmaking as a collective enterprise and has maintained a steady group of collaborators. c. never returned to form after the early promise of his pioneering New Wave films. d. has always been the least prolific of the New Wave directors, making a film every three or four years. e. was equally known for his comedies and his political films as he was for his thrillers. f. all of the above

Q: Chabrols work most often revolves around the central theme of a. the effect of time on human memory. b. the struggle between capitalist oppression and true democracy. c. the impact of a crime of passion on the relationships of a small group. d. the repressive effects of social structure on individual freedom. e. the existential hopelessness of existence. f. none of the above

Q: Jean-Luc Godard a. is the least prolific of the New Wave directors, having made just a handful of films. b. did not write for Cahiers du cinma like so many other New Wave directors. c. made films that are more emotional and less intellectual than the other New Wave directors. d. unlike most of the New Wave filmmakers, had no political perspective in his films. e. was always interested in the construction of compelling narratives. f. none of the above

Q: The Godard film that was banned by the French government for its comment on the Algerian War is a. The Little Soldier. d. Contempt. b. My Life to Live. e. Alphaville. c. Breathless. f. none of the above

Q: Godards Band of Outsiders is a. a neorealist musical. b. his first return to the gangster genre since Breathless. c. a sociological tract on the problem of prostitution complete with statistics and jargon. d. a war film that pays homage to the early documentary style of the Lumires. e. a film that has no narrative at all but merely attempts to destroy the illusion of cinema. f. none of the above

Q: The scriptless, plotless gangster film that comes closest to achieving Godards stated goal of making a film where there has been no writing, no editing, and no sound mixing is a. Alphaville. d. Le Mpris (Contempt). b. A Married Woman. e. Masculin/Fminin. c. Pierrot le fou (Crazy Pete). f. none of the above

Q: All of the following are true of Godards Made in the U.S.A. EXCEPT a. it is a remake of Hawkss The Big Sleep. b. the characters often speak directly to the audience. c. it has no plot or any other narrative construction whatsoever. d. it represents Godards celebration of the American cinema. e. the dialogue is often rendered purposely inaudible. f. All of the above are true.