Q&A Hero

Q: The muckraking headlines of Kanes New York Inquirer figure prominently in which story in Citizen Kane? a. Lelands d. the newsreel b. Susans e. the reality frame c. Raymonds f. none of the above

Q: In Citizen Kane, Bernsteins story begins with a. the first day at the New York Inquirer. b. Kanes childhood. c. Kane meeting Susan Alexander. d. Kanes death. e. Kanes first marriage. f. none of the above

Q: The Declaration of Principles document is written in whose story in Citizen Kane? a. Lelands d. Raymonds b. Bernsteins e. Thatchers c. Susans f. none of the above

Q: The banquet in Bernsteins story in Citizen Kane is being held to celebrate a. Kanes first wedding. b. the founding of the New York Inquirer. c. the Inquirers hiring away the staff of a rival newspaper. d. the financial success of the Inquirer. e. the acquisition of a newspaper chain. f. none of the above

Q: Which character in Citizen Kane speculates that Rosebud was something he lost? a. Leland d. Bernstein b. Susan e. Thompson c. Raymond f. none of the above

Q: The longest dissolves in Citizen Kane that signal a struggle to remember occur during whose story? a. Lelands d. Thatchers b. Susans e. Bernsteins c. Raymonds f. none of the above

Q: The famous breakfast-table sequence in Citizen Kane takes place during whose story? a. Bernsteins d. Thatchers b. Susans e. Lelands c. Raymonds f. none of the above

Q: The dramatic purpose of the breakfast-table scene in Citizen Kane is a. to demonstrate Kanes growing estrangement from his first wife. b. to show Kanes great sense of dedication to journalism. c. to reveal Kanes growing disinterest in the Inquirer as he contemplates a political career. d. to create tension between Kane and his original partners at the Inquirer, Bernstein and Leland. e. to show Kanes increasing sense of familial devotion pulling him away from the newspaper. f. none of the above

Q: Which of the following events does NOT occur in Lelands story in Citizen Kane? a. Kanes conflict with Boss Jim Gettys. b. Susans performance at the opera in Chicago. c. Kanes completion of Lelands negative review of Susans performance. d. Kanes electoral defeat. e. Kanes first meeting with Susan Alexander. f. All of the above are events from Lelands story.

Q: Which of the following events is NOT seen in Susans story in Citizen Kane? a. Susans performance at the Chicago opera b. Susan and Kanes first meeting c. Kane firing Leland for his negative review of Susans performance d. Susan leaving Kane e. Susans suicide attempt f. All of the above are shown in Susans story.

Q: Xanadu is a primary location for which characters story in Citizen Kane? a. Leland d. Thatcher b. Bernstein e. both b and c c. Susan f. none of the above

Q: Kanes tantrum wherein he destroys Susans bedroom is told in whose story in Citizen Kane? a. Thatchers d. Susans b. Bernsteins e. Raymonds c. Lelands f. none of the above

Q: The prop most closely associated with Susan in Citizen Kane and which goes on to become a metaphor for Kanes life is a. the snow globe. b. the sled. c. the Greek sculptures. d. the jigsaw puzzle. e. the original Declaration of Principles. f. none of the above

Q: Including the newsreel and the reality frame, how many stories of Kanes life are told in Citizen Kane? a. four d. six b. nine e. five c. seven f. none of the above

Q: In Citizen Kane, the first character or place that Thompson visits is a. Leland. d. Susan. b. Thatchers Library. e. Bernstein. c. Xanadu. f. none of the above

Q: Which of the following events are NOT described in Thatchers narrative in Citizen Kane? a. Kanes childhood b. Kanes taking over the New York Inquirer c. Kanes financial failure d. Kanes twenty-first birthday e. Kanes marriage to Susan f. All of the above are in Thatchers narrative.

Q: Kanes position in the classic deep-focus boarding house shot that occurs early in the film is a. in the foreground of the action moving from left to right. b. in the middle ground of the shot pacing back and forth. c. in the extreme background of the shot. d. not visible for most of the shot. e. sitting in another room barely visible in the frame. f. none of the above

Q: Which of the following describes one of the virtuoso shots in Citizen Kane? a. The camera cranes up to and through a nightclub sign then descends into a skylight, eventually settling into a two-shot of characters talking inside the nightclub. b. The camera appears to move through the gate outside Xanadu and then in one continuous motion approaches the house and enters Kanes room through a window. c. The camera starts on a stagehand in a theater before descending to the stage where a character is singing then continuing down to the orchestra pit to reveal Kane. d. The camera tracks across the top of a table where Kane and his wife are eating breakfast before appearing to enter a photograph in the newspaper Kane is reading. e. only b and c f. all of the above

Q: Which of the following is a stylistic characteristic of Citizen Kane? a. flat, soft, and high-key lighting b. sets with ceilings c. predominantly eye-level camera placement d. minimal camera movement e. none of the above f. all of the above

Q: The lightening mix refers to a. a photographic technique that uses a lighting flash as a transition. b. an editing technique that cuts shots together based on discontinuity of sound and image. c. a technique that uses sound continuity to bridge shots with different times and settings. d. a lighting technique that uses multiple instruments connected to dimmer boards. e. a technique which takes two moving camera shots and joins them through a momentary flash into what appears to be a single shot. f. none of the above

Q: Overlapping sound montage was used by Welles in Citizen Kane to produce a. a multi-dimensional audio space. b. stereophonic sound. c. a connection between shots from different times and settings. d. a sense of realistic group conversation. e. both a and c f. none of the above

Q: The first image in Citizen Kane is a. a snow globe. d. animals in cages in a zoo. b. a title reading News on the March. e. a sign that reads No Trespassing. c. a lighted window in a mansion. f. none of the above

Q: The object Kane drops as he utters his dying words is a. a mirror. d. a piece of sculpture. b. a puzzle piece. e. a photograph. c. a miniature sled. f. none of the above

Q: The newsreel parody in Citizen Kane is called a. News on the March. d. The Inquirers March of News. b. The March of Time. e. The News of the Times. c. Movietone News. f. none of the above

Q: The newsreel in Citizen Kane a. first poses the mystery of Rosebud. b. tells of all the major events shown subsequently in the film. c. does not include the Susan Alexander scandal. d. is approved by the executives watching at the beginning. e. both a and c f. none of the above

Q: Of the following film artists, who did NOT work on Citizen Kane? a. writer Herman Mankiewicz d. art director Perry Ferguson b. composer Bernard Hermann e. cinematographer Gregg Toland c. editor Robert Wise f. All of the above worked on the film.

Q: Straight cuts in Citizen Kane are used largely for a. shock effects. d. temporal transitions. b. time transitions. e. montage effects. c. narrative transitions. f. none of the above

Q: Cinematographer Gregg Toland a. achieved recognition in Hollywood only after Citizen Kane. b. was known for high-key soft style cinematography. c. was a pioneer of deep focus photography. d. was known for shooting on sets built without ceilings so that they could be lit from above. e. developed a completely different style of cinematography for Citizen Kane. f. all of the above

Q: Which of the following was characteristic of the soft style of photography dominant in the Hollywood studios during the 1930s? a. deep focus d. pan-focus photography b. diffused lighting e. high-intensity arc lamps c. smaller lens apertures f. all of the above

Q: Which of the following is necessary for deep-focus photography? a. slower film stocks d. wider lens apertures b. lower intensity lighting e. large, heavy cameras c. wide-angle lenses f. all of the above

Q: Mitchell BNC is a type of a. film stock. d. camera. b. wide-angle lens. e. deep-focus process. c. lighting instrument. f. none of the above

Q: Orson Welles a. was the first director ever to use deep focus. b. figured out the techniques for achieving universal focus. c. tended to stage action along a single focal plane. d. used deep focus because it was easier than cutting. e. used deep focus to create metaphors and express power relations. f. all of the above

Q: The studio where Orson Welles was first hired as a director was a. RKO. d. Columbia. b. MGM. e. Universal. c. Paramount. f. none of the above

Q: Welless studio production contract was unique in that a. it paid him more money than any director in history. b. it gave him control over everything except casting and final cut. c. it gave him complete creative control over his productions. d. it was only for a single film. e. both c and d f. none of the above

Q: Welless radio production troupe was called a. the Jupiter Players. d. the Theater of the Air. b. Apollo Productions. e. the Orson Welles Players. c. the Mercury Theatre. f. none of the above

Q: The first film Welles attempted to make in Hollywood was a. designed to be filmed entirely with a subjective camera. b. abandoned due to technical problems and cost overruns. c. based on Joseph Conrads Heart of Darkness. d. to be made at RKO. e. all of the above f. none of the above

Q: Welles reportedly watched which film forty times as his only preparation for directing Citizen Kane? a. The Last Laugh d. Sunrise b. The Rules of the Game e. Stagecoach c. M f. none of the above

Q: Touch of Evil a. was restored by Universal to Welless original form in 1976. b. was restored by Walter Murch to Welless original form in 1998. c. was originally released in the form Welles intended and so did not need restoration. d. has never been restored, so only critics and the original audiences saw Welless version. e. has never been seen in anything approaching Welless original version. f. is lost forever since so much of the material has been destroyed, and it is impossible to determine Welless plan for the film.

Q: Touch of Evil a. was so successful it reinvigorated Welless Hollywood career. b. did well enough so that Welles was asked to make another film for Universal. c. failed so badly that it was the last film Welles would ever make in Hollywood. d. made Welles a highly in-demand actor in Hollywood. e. has never been considered one of Welless most important films. f. none of the above

Q: The only film since Citizen Kane over which Welles exerted total creative control was a. Touch of Evil. d. The Trial. b. Macbeth. e. The Stranger. c. The Magnificent Ambersons. f. none of the above

Q: The Shakespeare character on whose exploits Chimes at Midnight is based is a. Prince Hal. d. Hamlet. b. Iago. e. Falstaff. c. Macbeth. f. none of the above

Q: Chimes at Midnight a. is Welless last completed dramatic feature-length film. b. is about nostalgia and loss. c. combines sections of several Shakespeare plays. d. was shot over the course of several years. e. only b and c f. all of the above

Q: The Orson Welles film that features a battle sequence edited with an Eisensteinian sense of montage is a. Chimes at Midnight. d. Macbeth. b. The Other Side of the Wind. e. Journey Into Fear. c. Mr. Arkadin. f. none of the above

Q: Welless The Merchant of Venice a. is considered his last great film. b. is a short film made for French television. c. was never released due to the theft of its negative. d. was never released because the quality was deemed too poor. e. was a success in Europe but never released in the United States. f. none of the above

Q: Welless first completed color film was a. The Trial. d. Othello. b. The Lady from Shanghai. e. The Immortal Story. c. The Other Side of the Wind. f. none of the above

Q: F for Fake a. was never completed. b. is a thriller based on the novel Dead Calm. c. is a documentary about the making of Othello. d. is a film about Welles made by another director. e. is a three-hour-long color film about a director played by Welles that is 98 percent finished and could soon be released. f. none of the above

Q: Which of the following is NOT a classic Welles theme? a. the corrupting nature of ambition b. the importance of professionalism c. the importance of maintaining a sense of the past d. the destructive power of obsession e. the disparity between social and psychological reality f. All of the above are Welles themes.

Q: Which of the following is an incomplete Welles film? a. Don Quixote b. The Trial c. Othello d. Mr. Arkadin e. The Immortal Story f. All of the above are incomplete Welles films.

Q: Which of the following Welles films is NOT about the immorality of a grotesque and powerful yet somehow sympathetic individual? a. Citizen Kane b. Macbeth c. Mr. Arkadin d. Touch of Evil e. Chimes at Midnight f. All of the above films share this theme.

Q: The first major director of the sound era to consistently compose his shots in depth was a. Jean Renoir. d. Carl Dreyer. b. John Ford. e. Ren Clair. c. Fritz Lang. f. none of the above

Q: In Renoirs deep focus technique a. continuity editing moves the viewers attention from one spatial plane to the next. b. entire scenes are generally accomplished in a single long take, such as Boieldieus death in The Grand Illusion. c. telephoto lenses and low f-stops ensure nearly infinite depth of field. d. the camera continuously shifts focal planes as it pans and tracks to follow the action. e. both b and c f. none of the above

Q: Renoirs The Rules of the Game a. was popular with French audiences when it was first released. b. is about the transformative possibilities of romantic love. c. features an uncharacteristically static camera style to convey the immobility of the upper class. d. is an optimistic view of the relations between French social classes. e. is about the breakdown of a European society that has become a vast lie. f. all of the above

Q: In The Rules of the Game, a. Jurieu breaks the rules by lying about his love for Christine. b. Octave is shot by the poacher, who mistakes him for Jurieu. c. Octave is played by Renoir himself in a rare film appearance. d. by the end of the film all the relationships have been happily realigned. e. there are no montage sequences. f. all of the above

Q: During World War II, Renoir a. stayed in France and fought with the underground resistance movement. b. stayed in France where he continued making controversial films. c. immigrated to England, where he made war propaganda films. d. immigrated to the United States, where he was unable to make films because of the language barrier. e. immigrated to the United States, where he made a series of mostly undistinguished films for a variety of studios. f. none of the above

Q: In The Golden Coach, Renoir a. explores a British girls reaction to India. b. abandons composition in depth and moving camera. c. attempts to replicate the colors of Impressionism. d. stages a spectacular twenty-minute-long dance sequence as the finale of the film. e. returns to the subject of prisoners of war, only this time in a comedy. f. none of the above

Q: Macbeth a. was one of the most expensive films Welles ever made. b. represents Welless triumphant return to Hollywood studio filmmaking. c. was originally released in the version approved by Welles. d. was shot on papier-mch and cardboard sets. e. was the first film Welles directed that he did not star in. f. none of the above

Q: The visual style most evident in Welless Macbeth is a. French Impressionism. d. Italian Superspectacle. b. German Expressionism. e. French Poetic Realism. c. Soviet Montage. f. none of the above

Q: Orson Welless first European film was a. Othello. d. Mr. Arkadin. b. Macbeth. e. Chimes at Midnight. c. The Trial. f. none of the above

Q: Orson Welless Othello a. is a dark, gloomy film like Macbeth and The Lady from Shanghai. b. won the Grand Prize at the Cannes Film Festival in 1952. c. was shot in twenty-three days on cardboard sets. d. was financed by Republic Pictures. e. was shot entirely on sound stages in Europe. f. none of the above

Q: Mr. Arkadin a. was Welless return to Hollywood filmmaking. b. was a virtual remake of The Lady from Shanghai. c. has almost all the characters voices dubbed by Welles. d. takes place in a single location. e. was one of Welless most commercially successful films. f. all of the above

Q: Welles returned to Hollywood from Europe to make a. Mr. Arkadin. d. Touch of Evil. b. Othello. e. Chimes at Midnight. c. The Trial. f. none of the above

Q: Welles was asked to direct Touch of Evil a. because of the commercial success of his previous film. b. because of the producers admiration for Citizen Kane. c. because of Welless growing reputation as a cinematic genius. d. because Welles refused to star in the film if he couldnt direct. e. because star Charlton Heston insisted that Welles direct. f. none of the above

Q: The Orson Welles film that opens with a two-and-a-half-minute long crane shot that starts on a close-up of a bomb and ends with the explosion is a. Touch of Evil. d. The Lady from Shanghai. b. Mr. Arkadin. e. The Trial. c. Journey Into Fear. f. none of the above

Q: Which of the following technical developments contributed to the softer, shallower focus of the films of the 1930s? a. the development of carbon arc lighting b. the introduction of faster film stocks c. the invention of Panchromatic film d. new lenses that let cinematographers shoot with tighter apertures e. all of the above f. none of the above

Q: Which of the following is the best description of the prewar Carn-Prvert films? a. political, influenced by Soviet montage b. realistic, optimistic, shot on location c. bright, comic, satirical, anarchic d. romantic, light-hearted, musical passages e. surrealistic, abstract, unpopular with audiences f. none of the above

Q: Carn and Prverts Children of Paradise a. explores the theme of the relationship between art and life. b. is set in the modern ballet theater against the backdrop of classical music. c. remains a virtually unknown film. d. was the last collaboration between Carn and Prvert. e. explores the themes of class struggle and love during a time of war. f. none of the above

Q: Renoirs early career in the silent cinema is characterized by a. making films primarily in the genre of musical comedy. b. producing a series of equally important films that were both popular and critical successes. c. producing several uneven films that failed to distinguish him as an artist. d. embracing the visual abstractions of impressionism. e. an innovative use of cinematic space. f. none of the above

Q: Renoirs Boudu Saved from Drowning a. was recut before release by the studio that produced it. b. was a great popular success that made Renoirs reputation. c. was a suspenseful detective film with many action sequences. d. was about the anarchic undermining of middle-class values. e. was a return to the greatness he revealed in his silent films. f. none of the above

Q: The Renoir films of the late 1930s a. were increasingly popular with audiences. b. reveal a waning sense of political commitment. c. were primarily light comedies with romantic themes. d. are far less visually realistic than his earlier films. e. were few in number and low in quality. f. none of the above

Q: The Renoir film about immigrant workers in the south of France that is considered a forerunner of Italian neorealism is a. La Chienne. d. A Day in the Country. b. Life Is Ours. e. Toni. c. The Lower Depths. f. none of the above

Q: Life Is Ours was an unusual film for Renoir in that a. it was a propaganda film for the French Communist Party. b. it was constructed entirely from newsreel footage. c. it was never completed. d. it had the look of a French Impressionist painting. e. it was not a political film at all. f. none of the above

Q: The Renoir film that seeks most closely to replicate the visual textures of Impressionist painting is a. Madame Bovary. d. The Lower Depths. b. A Day in the Country. e. The Rules of the Game. c. The Grand Illusion. f. none of the above

Q: The Grand Illusion a. places any hope for the future of Europe on the return of the aristocracy to power. b. shows the German officer and the French aristocrat to be bitter enemies. c. takes place in a Europe that is on the verge of complete social collapse. d. shows the friendship between German and Jewish prisoners. e. shows the French and German officers ultimately escaping together. f. none of the above

Q: Stylistically, The Grand Illusion is characterized by a. fast-paced montage editing reminiscent of Eisenstein. b. expressive decor influenced by German Kammerspielfilme. c. a spare naturalistic camera style with limited movement. d. long shots/long takes featuring composition in depth. e. many visual effects influenced by French Impressionism. f. all of the above

Q: Deep-focus photography a. appears to reproduce the eyes natural field of vision. b. incorporates long shot, medium shot, and close-up all into one frame. c. links character with background. d. allows the spectators eye to wander through the frame rather than directing it decisively. e. all of the above f. none of the above

Q: Which of the following is most descriptive of Renoirs career? a. His career only spanned twenty years, but during that time he was very prolific. b. His experimental periods were few and far between but still quite influential. c. He became the father of a new cinematic aesthetic that replaced the cut with the long take. d. The films he made over the course of his career are remarkably similar in subject and style. e. His films were never popular with critics, but he was always well received by French audiences. f. all of the above

Q: By the late 1930s the French cinema a. had declined to the point where it was nearly nonexistent. b. had settled into a style known as symbolic naturalism. c. had become among the most vital and creative in the world. d. still had a relatively small domestic audience though an active export program. e. was still struggling to find a workable industrial model. f. none of the above

Q: Poetic realism a. was never an important movement in French commercial cinema. b. was popular in the 1920s but had faded from importance by the 1930s. c. is very much like the surrealism of the second French avant-garde. d. combined lyricism and naturalism while reflecting the influence of Clair and Vigo. e. produced only a handful of significant films. f. none of the above

Q: Charles Spaak was a. a designer who first envisioned the look of poetic realism. b. a cinematographer who shot many of the early classics of poetic realism. c. a director who made the first poetic realist films. d. a screenwriter who helped develop poetic realism. e. a producer who took a chance on a group of young filmmakers that went on to develop poetic realism. f. None of the above; Spaak is not associate with poetic realism.

Q: The French gangster film, directed by Duvivier and starring Jean Gabin, that reveals the dark side of poetic realism was a. Quai des Brumes. d. Le Jour se Lve. b. La Chienne. e. Pp le Moko. c. Les Visiteurs du Soir. f. none of the above