Accounting
Anthropology
Archaeology
Art History
Banking
Biology & Life Science
Business
Business Communication
Business Development
Business Ethics
Business Law
Chemistry
Communication
Computer Science
Counseling
Criminal Law
Curriculum & Instruction
Design
Earth Science
Economic
Education
Engineering
Finance
History & Theory
Humanities
Human Resource
International Business
Investments & Securities
Journalism
Law
Management
Marketing
Medicine
Medicine & Health Science
Nursing
Philosophy
Physic
Psychology
Real Estate
Science
Social Science
Sociology
Special Education
Speech
Visual Arts
Humanities
Q:
Greed
a. was a major box-office failure.
b. can be seen today in a form very near to von Stroheims original intention.
c. got von Stroheim fired by MGM.
d. ends in San Francisco with the reunification of Trina and McTeague.
e. exhibits a great sense of structural unity despite its extensive cuts.
f. none of the above
Q:
Greed
a. did not exceed its original budget and in fact came in slightly under budget.
b. was shot entirely on sound stages at Goldwyn Pictures.
c. originally had a running time of just under five hours.
d. lost money in its original release.
e. All of the above are true.
f. None of the above are true.
Q:
The great adventure star of the 1920s whose athletic, optimistic persona and amazing physical agility made him one of the most popular actors in Hollywood was
a. Rudolph Valentino. d. Harry Langdon.
b. William S. Hart. e. Allan Dwan.
c. Douglas Fairbanks. f. none of the above
Q:
Nanook of the North
a. was the first feature-length documentary ever produced.
b. was shot entirely in static long shots.
c. contained dramatic reenactments as well as actual events.
d. was a fiction film.
e. mixed actors in with real people to create a new hybrid genre.
f. none of the above
Q:
Nanook of the North
a. was an inexpensive film to make by Hollywood standards.
b. utilized close-ups and reverse angles like a function film.
c. was a great popular success, instantly creating a market for documentaries.
d. was financed by a French fur company for public relations purposes.
e. was made by a mineralogist with no background in filmmaking.
f. all of the above
Q:
The difference between panchromatic and orthochromatic film stock is
a. orthochromatic film stock requires less light for exposure.
b. panchromatic film stock is no longer in use.
c. panchromatic film stock is sensitive to the entire spectrum of light.
d. orthochromatic film stock produces a softer image.
e. orthochromatic film stock is sensitive to only red and yellow light.
f. There is no significant difference between the two.
Q:
Robert Flahertys first film made for a Hollywood studio was
a. about natives of Samoa.
b. Nanook of the North.
c. a collaboration with F. W. Murnau.
d. embraced by anthropologists for its great accuracy.
e. one of the last films shot on orthochromatic stock.
f. none of the above
Q:
Which of the following is NOT a characteristic of Flahertys documentary style?
a. His films were constructed largely according to the methods of narrative cinema.
b. His films featured extensive use of the telephoto lens.
c. His films tended to reconstruct rather than simply to record reality.
d. His films were more poetic fantasies than anthropological studies.
e. His films focused on traditional peoples of Africa and Asia.
f. none of the above
Q:
The film on which Murnau and Flaherty collaborated was
a. Moana.
b. Cheng.
c. Tabu.
d. White Shadow on the South Sea.
e. Man of Aran.
f. None of the above; the two filmmakers never worked together.
Q:
Hollywood during the 1920s
a. made many daring and experimental feature films that contributed to the canon of world cinema.
b. made its most significant contributions to the world cinema in the genre of melodrama.
c. saw the average feature film production cost increase by 1,500 percent in less than ten years.
d. produced an average of 150 feature films a year.
e. had yet to establish a successful production formula, so the films produced were very different from each other.
f. all of the above
Q:
Erich von Stroheim
a. was descended from Austrian aristocracy.
b. was an assistant to Griffith on Intolerance.
c. was a very successful actor before becoming a director.
d. became a widely beloved hero in American war films.
e. stopped acting once he began directing.
f. all of the above
Q:
The plot of an American wife in Europe being seduced by a foreign military officer is typical of the early work of
a. Ernst Lubitsch. d. Robert Flaherty.
b. Cecil B. DeMille. e. Erich von Stroheim.
c. Allan Dwan. f. none of the above
Q:
Von Stroheims Blind Husbands
a. represented the end of von Stroheims acting career.
b. was von Stroheims first film as a director.
c. was a commercial failure but a critical success.
d. is much different from the von Stroheim films that followed.
e. revealed little in the way of unique visual style.
f. all of the above
Q:
The best description of DeMilles work would be
a. great directorial virtuosity in terms of narrative complexity and visual style.
b. family values-oriented films generally based on Biblical sources.
c. exclusively films of historical spectacle.
d. small-scale melodramas and romantic comedies.
e. outrageous displays of sex and violence made acceptable by tacking on a moralistic conclusion.
f. none of the above
Q:
The studio for which Cecil B. DeMille worked during his entire fifty-year directorial career was
a. MGM. d. Warner Brothers.
b. Paramount. e. 20th Century-Fox.
c. Universal. f. none of the above
Q:
A sophisticated handling of sexual innuendo, a refined sense of visual wit, and a light comic continental touch describe the films of
a. Cecil B. DeMille. d. Ernst Lubitsch.
b. F. W. Murnau. e. Erich von Stroheim.
c. Michael Curtiz. f. none of the above
Q:
The influx of European talent to Hollywood in the 1920s
a. saw most of the directors fail to adapt to Hollywood and return home.
b. had very little influence on the American film industry.
c. was primarily from France.
d. resulted in few memorable or significant films.
e. was actually quite small in terms of numbers but great in industrial impact.
f. none of the above
Q:
Which of the following was NOT a major Hollywood genre during the 1920s?
a. the western d. the action-adventure film
b. the slapstick comedy e. the horror film
c. the melodrama f. All of the above were major genres.
Q:
The director who rose to fame writing and directing the popular Harry Langdon series is
a. George Stevens. d. Howard Hawks.
b. Frank Capra. e. Clyde Bruckman.
c. Leo McCarey. f. none of the above
Q:
The American cinema after World War I
a. remained fundamentally within the puritanical conventions of Griffiths melodrama.
b. was not yet a favorite subject of the tabloid press.
c. went through a relatively scandal-free period.
d. became widely accepted as a positive influence on young people.
e. began to reflect the materialism and sexual license of the Jazz Era.
f. all of the above
Q:
Fatty Arbuckle
a. was found guilty in his trial but was allowed to remain free and continue working in the film industry.
b. was portrayed as a victim in the tabloid press.
c. was accepted back into the Hollywood industry after his series of trials ended inconclusively.
d. was found innocent in his trial but was blackballed by Hollywood anyway.
e. both a and b
f. none of the above
Q:
The steep decline in movie attendance in 1922 can be attributed to all of the following EXCEPT
a. a decline in film quality.
b. the emergence of commercial radio.
c. the ability to buy automobiles on credit.
d. boycotts by churches, womens clubs, and reform groups.
e. Only b and c were significant factors.
f. All of the above were significant factors.
Q:
The primary purpose of the Hays Office was
a. to censor Hollywood films.
b. to promote the careers of stars who suffered from unfavorable publicity.
c. to hold off threats of censorship by giving Hollywood the appearance of respectable self-regulation.
d. to lobby the government for legislation beneficial to the film industry.
e. Both c and d were important functions.
f. none of the above
Q:
The director whose films most fully embodied the sexual freedoms of the new morality was
a. Erich von Stroheim. d. Jesse Lasky.
b. King Vidor. e. Mauritz Stiller.
c. Cecil B. DeMille. f. none of the above
Q:
Buster Keatons The General
a. is widely considered Keatons masterpiece.
b. was a great commercial success.
c. was set during World War I.
d. was less concerned with period accuracy than with a large number of gags.
e. favored dramatic action over comedy.
f. all of the above
Q:
The film in which a house collapses around Keaton, who survives only because hes standing in a window opening, is
a. College. d. Steamboat Bill, Jr.
b. One Week. e. Our Hospitality.
c. The Electric House. f. none of the above
Q:
The studio that bought Buster Keaton Productions, promising to continue to allow him to work autonomously was
a. MGM. d. Warner Brothers.
b. Paramount. e. First National.
c. Universal. f. none of the above
Q:
Keatons inability to adapt to the studio system was due to
a. his loss of creative control over his films.
b. the fact that his first films for the studio were unpopular.
c. the studio not hiring his collaborative team.
d. the coming of sound.
e. friction between him and William Randolph Hearst over the film The Cameraman.
f. none of the above
Q:
Buster Keaton was fired from the studio where he worked from 1928 until 1933 because
a. his films lost money.
b. he was unable to adapt to sound.
c. of his erratic behavior and long absences from the set due to drunkenness.
d. of his refusal to follow the screenplays of his films.
e. He was not fired; he quit the studio.
f. none of the above
Q:
Which of the following is NOT true of Keatons style as an actor/director?
a. He performed all his own stunts no matter how dangerous.
b. His films had a strong sense of narrative structure and mise-en-scne.
c. Though they were comedies, his films had a consistent pictorial beauty.
d. Both his body and face were generally inexpressive.
e. His films avoided the sentimentality of Chaplins work.
Q:
The most popular slapstick comedian at the box office in the United States during the 1920s was
a. Charlie Chaplin. d. Harry Langdon.
b. Buster Keaton. e. W. C. Fields.
c. Harold Lloyd. f. none of the above
Q:
Harold Lloyd
a. often played foreign characters.
b. specialized in the comedy of thrills.
c. began his career as a Buster Keaton imitator.
d. continued his career successfully well into the sound era.
e. played a down-and-out vagrant.
f. all of the above
Q:
The producer responsible for the comic films of Harold Lloyd, Laurel and Hardy, and Our Gang was
a. Hal Roach. d. Frank Capra.
b. Mack Sennett. e. Harry Aitken.
c. Joseph Schenck. f. none of the above
Q:
Laurel and Hardy
a. were led by the comic genius of Oliver Hardy, who directed many of their films.
b. unlike many of their contemporaries, failed to successfully make the transition to sound.
c. were generally mild-mannered and childish rather than violent like most slapstick comedians.
d. made films wherein anarchy and destruction would escalate logically from a simple mistake.
e. made their films for producer Mack Sennett.
f. all of the above
Q:
The person directly in charge of Buster Keaton Productions in terms of financing and distribution throughout the 1920s was
a. Buster Keaton. d. Louis B. Mayer.
b. Joseph Schenck. e. Irving Thalberg.
c. Nicholas Schenck. f. none of the above
Q:
During the 1920s Buster Keaton
a. was the only credited director on a majority of his films.
b. worked for several different studios over the course of the decade.
c. had complete creative control of his films regardless of director.
d. worked for Sennett at Keystone, where his films were distributed by First National.
e. was particularly noted for his variety of facial expressions.
f. None of the above are true.
Q:
The trajectory gag is
a. a pratfall-based gag that causes a downward movement.
b. a joke that posits the unification of opposites through a clash or conflict.
c. a gag involving levers, pulleys, or other mechanical objects that eventually turn against Buster.
d. a long series of narratively connected sight gags leading to a dramatic climax.
e. a gag that involves Buster being launched through space as though by a cannon.
f. none of the above
Q:
The film in which Buster Keaton plays a projectionist who falls asleep and dreams that he enters the action on the movie screen is
a. The Cameraman. d. Seven Chances.
b. The Navigator. e. The Playhouse.
c. Sherlock, Jr. f. none of the above
Q:
Keatons visual style features all of the following EXCEPT
a. montage-style editing.
b. composition in depth.
c. long takes or sequence shots.
d. location shooting.
e. dynamic camera.
f. All of the above are aspects of Keatons visual style.
Q:
The best description of the character played by Buster Keaton would be
a. a baby-faced innocent with a comic inability to understand the world around him.
b. a high-spirited optimist with extraordinary physical abilities who struggles with objects and machines.
c. a mild mannered boy-next-door with great athletic skills who was the embodiment of American normalcy.
d. a down-and-out drifter driven primarily by lust and hunger.
e. an anarchistic force who comes into stable situations and wreaks havoc upon them without ever intending to.
f. none of the above
Q:
Chaplins short films
a. were only moderately successful; it was his feature films that made him famous.
b. were generally made in a haphazard fashion without a great concern for cinematic craftsmanship.
c. include such masterpieces as The Immigrant and The Kid.
d. were primarily made for a single studio.
e. contained a great deal of social satire at the expense of the rich and powerful.
f. all of the above
Q:
Chaplins first film for United Artists
a. was The Kid.
b. starred Chaplin in his little tramp role.
c. was shunned by the critics and public alike.
d. was not a slapstick comedy.
e. was a parody of D. W. Griffith.
f. none of the above
Q:
Chaplins first sound films
a. were The Gold Rush and City Lights.
b. had very little dialogue.
c. featured musical scores by famous composers.
d. caused his fall from popular favor.
e. were not made until the 1940s.
f. none of the above
Q:
The Chaplin satire of industrial capitalism that earned him the enmity of the rich and powerful everywhere, and which was banned in fascist Germany and Italy, was
a. City Lights. d. The Great Dictator.
b. Limelight. e. The Idle Class.
c. Modern Times. f. none of the above
Q:
The Great Dictator
a. was a tremendous commercial hit.
b. directly and overtly satirizes Benito Mussolini and fascist Italy.
c. was applauded by most critics for its political message.
d. came out after the United States was already involved in World War II.
e. is the one film of his career in which Chaplin does not appear.
f. Both c and d are true.
Q:
Which of the following was a legal problem Chaplin had to contend with during his career?
a. a paternity suit filed by a former protge who went on to become a well-known actress
b. accusations of violating the Mann Act with evidence provided by FBI surveillance
c. exiled by the State Department, who refused to issue him a reentrance visa to the United States
d. accusations of wrongdoing from the House Un-American Activities Committee
e. all of the above
f. none of the above
Q:
Chaplins last film
a. was picketed by the American Legion.
b. was A King in New York.
c. had a very successful commercial release.
d. was never released in the United States.
e. starred Marlon Brando.
f. none of the above
Q:
During Chaplins last twenty-five years as a filmmaker
a. he increasingly abandoned his tramp character.
b. he enjoyed continued popularity.
c. he was prolific in terms of output.
d. he lost his sense of satirical criticism.
e. he was completely ignored by the American filmmaking establishment.
f. all of the above are true
Q:
Buster Keaton began his career as a costar for
a. Charlie Chaplin. d. Snub Pollard.
b. Harold Lloyd. e. Fatty Arbuckle.
c. Harry Langdon. f. none of the above
Q:
Keatons two-reel comedies can be described as
a. overt social criticism combined with slapstick and pathos.
b. anarchistic and fast paced with little concern for narrative.
c. genteel and more reliant on comic situation than action.
d. complex in structure with a fine visual sensibility.
e. conventional in terms of style and narrative.
f. nonexistent, since Keaton only made features.
Q:
The Keystone films
a. were produced from detailed scenarios.
b. were all directed by Mack Sennett.
c. were popular in the United States but not internationally.
d. focused on narrative logic and character development.
e. All of the above are true.
f. None of the above are true.
Q:
Which of the following slapstick director/performers did NOT work for Mack Sennett?
a. Charlie Chaplin d. Harry Langdon
b. Fatty Arbuckle e. Mabel Normand
c. Hal Roach f. All of the above worked for Sennett.
Q:
The studio where Chaplin first developed his little tramp persona was
a. Essanay. d. United Artists.
b. Mutual. e. Charlie Chaplin Pictures.
c. First National. f. none of the above
Q:
The studio that paid Chaplin $10,000 a week and where he produced his most classic two-reel shorts, including The Immigrant, was
a. Keystone. d. First National.
b. Essanay. e. United Artists.
c. Mutual. f. none of the above
Q:
The rise of the feature film after World War I led to
a. the construction of enormous atmospheric theaters.
b. a dramatic increase in production budgets.
c. a standardization of film production practices.
d. increased Wall Street investment in the film industry.
e. all of the above
f. none of the above
Q:
Which of the following production companies was NOT one of the Big Three at the beginning of the 1920s?
a. First National
b. Loews, Inc.
c. Famous Players-Lasky
d. Fox Film Corporation
e. Only b and c were members of the Big Three.
f. None of the above were members of the Big Three.
Q:
The conglomerate that owned MGM was
a. First National. d. United Artists.
b. Loews, Inc. e. Famous Players-Lasky.
c. Film Booking Office. f. none of the above
Q:
Which of the following production companies was NOT one of the Little Five during the 1920s?
a. Warner Brothers
b. Paramount
c. Fox Film Corporation
d. Universal
e. Producers Distributing Corporation
f. All of the above were in the Little Five.
Q:
United Artists
a. was the studio founded by Thomas Ince.
b. was never a significant production entity.
c. was a company formed by actors and directors.
d. was started to combat the practice of block booking.
e. All of the above are true.
f. None of the above are true.
Q:
The figure most responsible for setting the practices of the Hollywood studio system was
a. D. W. Griffith. d. Thomas Ince.
b. Mack Sennett. e. Harry Aitken.
c. Frank Borzage. f. none of the above
Q:
Which of the following was a component of Inces production system?
a. Editing was supervised by the director of the film until the film was complete.
b. It was the job of the director alone to do shot breakdowns and schedules.
c. Loose scenarios allowed the actors to improvise much of the action.
d. He divided the work among several production units, each headed by a director.
e. Directors were given a great deal of creative freedom.
f. all of the above
Q:
Inces production methods
a. were very much like Griffiths.
b. did not turn out to be commercially viable.
c. were never replicated by any other studios.
d. put the screenwriter in the preeminent creative position in the production process.
e. produced many excellent slapstick comedies but were not applicable to other genres.
f. none of the above
Q:
The three film directors who joined together to form the Triangle Film Corporation were
a. Sennett, Griffith, and Ince. d. Griffith, Chaplin, and Fairbanks.
b. Ince, Sennett, and Aitken. e. Sennett, Fairbanks, and Griffith.
c. Ince, Griffith, and Chaplin. f. none of the above
Q:
The Triangle Film Corporation
a. was founded by Charlie Chaplin, Mary Pickford, and Douglas Fairbanks.
b. was one of the most successful studios of the silent era.
c. failed because it misunderstood the publics changing taste.
d. failed because it hired inexperienced directors and stars.
e. caused the end of Thomas Inces career.
f. None of the above are true.
Q:
The director who ran the Keystone Film Company was
a. Charlie Chaplin. d. Harry Aitken.
b. D. W. Griffith. e. Mack Sennett.
c. Thomas Ince. f. none of the above
Q:
Which of the following would be the best description of a Keystone film?
a. narratively complex romantic comedies with an emphasis on character
b. tightly constructed action films often with a western setting
c. beautifully photographed epics with elaborate period costumes and settings
d. violent, chaotic physical comedy with fast-paced editing and frantic action
e. popular melodramas featuring the biggest stars of the era
f. none of the above
Q:
After the imposition of Socialist realism,
a. film production fell to its lowest level in a decade.
b. experimental, personal filmmaking was explicitly forbidden.
c. Eisenstein, Pudovkin, Vertov, Kuleshov, and Dovzhenko were all denounced.
d. films had to feature truthful, historically concrete depictions of reality in its revolutionary development.
e. all of the above
f. none of the above
Q:
By the end of World War I
a. the Motion Picture Patents Corporation still had control over film production.
b. there were no significant independent producers in Hollywood.
c. the motion picture audience was still largely poor and immigrant.
d. the movies had still not become a significant national industry.
e. All of the above are true.
f. None of the above are true.
Q:
In comparison with Eisenstein, Pudovkin had a greater interest in
a. editing. d. mise-en-scne.
b. photography. e. character.
c. sound. f. none of the above
Q:
In comparison with those of Eisenstein, Pudovkins films
a. were less popular with Soviet audiences.
b. were less sophisticated in their use of montage.
c. used editing for primarily narrative rather than symbolic purposes.
d. emphasized the collision of oppositional shots rather than the linkage of related ones.
e. are more abstract and politically radical.
f. none of the above
Q:
Pudovkin, Eisenstein, and Alexandrov wrote in their joint manifesto that film sound
a. was detrimental to the progress of film as an art form.
b. should be contrapuntal rather than lip-synchronized.
c. should be limited to recording dialogue.
d. was something the best directors should attempt to avoid.
e. both a and d
f. none of the above
Q:
Pudovkins The End of St. Petersburg
a. minimizes individual character development in favor of epic action sequences.
b. is shot in a documentary style with no expressive camera angles or movements.
c. went way over budget and schedule and had to be cut down from a length of three hours.
d. was commissioned by the Central Committee of the Communist Party.
e. was not appreciated by foreign audiences.
f. all of the above
Q:
Pudovkins Heir to Genghis Khan
a. is yet again a story of the Russian revolution.
b. departs dramatically from the narrative pattern set in Mother and The End of St. Petersburg.
c. was shot in documentary realist style.
d. was set in Russia, mostly in Moscow.
e. was criticized in the Soviet Union for being unrealistic and too beautifully photographed.
f. none of the above
Q:
After the coming of sound, Pudovkin
a. continued working in the Soviet industry for several decades.
b. made several films equal to his work during the silent period.
c. retired from filmmaking due to government pressure.
d. made only a few more films before being denounced for formalist error.
e. immigrated to France.
f. none of the above
Q:
The nationality of Alexander Dovzhenko was
a. Russian. d. Kazakh.
b. Georgian. e. Latvian.
c. Ukranian. f. none of the above
Q:
Which of the following is true of Dovzhenkos Arsenal?
a. It tells the story of the revolution from the Ukrainian perspective.
b. It combines history, politics, folklore, allegory, and myth.
c. In the end, the hero is shown to be bulletproof.
d. It creates an extended visual metaphor more than it tells a story.
e. It features a talking horse.
f. all of the above
Q:
The Dovzhenko film that tells an epic, poetic story of life, death, Ukrainian culture, and was widely criticized as being counterrevolutionary is
a. Zvenigora. d. Arsenal.
b. Plain People. e. Storm Over Asia.
c. Earth. f. none of the above
Q:
After the coming of sound, Dovzhenko
a. stopped making films completely.
b. continued to work free from government pressure.
c. made many films equal in quality to his silent masterpieces.
d. adapted to making sound films but never reached the creative heights of his silent work.
e. saw his domestic reputation rise dramatically.
f. none of the above
Q:
After Stalin rose to power
a. the Soviet cinema went through its greatest period of experimentation.
b. the Soviet film industry continued to operate just as it had before.
c. the place of film in Soviet society was no longer considered as important as it was under Lenin.
d. the Soviet film industry underwent a reorganization that was more economic than creative or ideological.
e. the Soviet cinema went into steep creative decline.
f. none of the above
Q:
Boris Shumyatsky
a. was a major Soviet director of the 1920s.
b. was appointed by Stalin as the head of the film industry.
c. ran the film industry under Lenin.
d. was the greatest star of the preSoviet Russian cinema.
e. was Pudovkins cinematographer.
f. none of the above