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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
Q:
Old and New was a stylistic departure for Eisenstein in that
a. it did not deal directly with the history of the revolution.
b. it was more about the pathos of everyday existence than grand political themes.
c. it is constructed according to a symphonic musical model.
d. mise-en-scne is as important as montage.
e. all of the above
f. Old and New is not that much different from Eisensteins other films.
Q:
During the 1930s, Eisenstein
a. gave up filmmaking for teaching and writing.
b. showed no interest whatsoever in sound film.
c. worked prolifically in the Soviet Union.
d. worked in both the United States and Mexico.
e. made a documentary in China.
f. none of the above
Q:
In Pudovkins early career
a. he produced propaganda newsreels.
b. he worked with experimental theater groups.
c. he attended the Kuleshov Workshop.
d. he was a well-known political cartoonist and painter before becoming a director.
e. he was one of the most famous of all Soviet novelists.
f. none of the above
Q:
Like Battleship Potemkin, Pudovkins Mother
a. had a collective rather than an individual protagonist.
b. was an immediate international success.
c. enjoyed limited popular success in the Soviet Union.
d. is an action-packed epic film.
e. featured an acting style based entirely on typage.
f. none of the above
Q:
Eisensteins category of intellectual montage is concerned with
a. the emotional content of the shots.
b. the movement within the shots.
c. the metaphorical significance of the shots.
d. the connection between the tone, tempo, and movement of the shots.
e. the physical length of the shots.
f. none of the above
Q:
In October, both the gods sequence and Kerenskis ascent of the Winter Palace staircase are examples of
a. tonal montage. d. intellectual montage.
b. graphic montage. e. overtonal montage.
c. rhythmic montage. f. none of the above
Q:
Eisensteins concepts of montage
a. were never published in the English language.
b. were more viscerally effective than either psychological or emotional.
c. had very little influence on future filmmaking practice.
d. worked toward a heightened realism in the cinema.
e. worked toward the establishment of a uniquely cinematic language based more on affect than narrative logic.
f. none of the above
Q:
The rejection of Eisensteins dialectical montage by critics like Andr Bazin was based on the idea that
a. it was too intellectual and so could not be understood by most audiences.
b. it did not work the way Eisenstein claimed it did.
c. it was not systematic enough and so could not be used by other filmmakers.
d. it was too manipulative and destroyed the reality of space.
e. it was too time consuming and expensive, so it was not a practical approach to production.
f. none of the above
Q:
Eisensteins October
a. was released in its original three-hour version before being cut down to ninety minutes for commercial reasons.
b. was enthusiastically received by critics and the public but not by the Soviet government.
c. was provided nearly unlimited production resources including the use of the Soviet army and navy.
d. was originally supposed to cover just a few months of the revolution in a single location but was soon dramatically expanded in scope.
e. all of the above
f. none of the above
Q:
What was the effect of Stalins rise to power in 19271928 on Eisensteins October?
a. Stalin became a great champion of the film, ensuring its release in Eisensteins original three-hour version.
b. Stalin completely suppressed the film so that it was never seen by Soviet audiences.
c. The Soviet government exported the film all around the world as an example of Soviet artistry.
d. The film had to be cut by several thousand feet to remove any reference to Leon Trotski.
e. More material was added to the film to bolster the importance of Stalin.
f. none of the above
Q:
In October, the monarchists vain hopes of returning to power are symbolized by
a. reverse projection that causes a previously demolished statue to appear to reassemble itself.
b. a drawbridge that is raised, but with a dead girls hair spanning the crevice of the separating bridge halves.
c. rifles waving in the air showing their support for the monarchists.
d. a series of religious icons edited in such a way that they seem to come to life.
e. both a and b
f. none of the above
Q:
Eisensteins October
a. was his greatest success both artistically and commercially.
b. demonstrates that when intellectual montage is disconnected from narrative and drama it leads to audience confusion.
c. is one of his few films to privilege content and message above formal experimentation.
d. continues to be considered his greatest film by critics and historians.
e. was destroyed by the Stalinist government and so no longer exists.
f. none of the above
Q:
The primary form of montage used by Eisenstein in Old and New was
a. tonal. d. graphic.
b. overtonal. e. intellectual.
c. rhythmic. f. none of the above
Q:
The Eisenstein film that features the famous three-shot montage of a stone lion statue appearing to rise from sleep to a roaring position was
a. Battleship Potemkin. d. Old and New.
b. Strike. e. Alexander Nevsky.
c. October. f. none of the above
Q:
A collision of oppositional shots that produces a series of ideas or feelings not necessarily contained in the images themselves describes
a. Vertovs kino eye.
b. Dovzhenkos poetic cinema.
c. Eisensteins dialectical montage.
d. Pudovkins approach to montage.
e. the basic constructive principle of Esther Schub.
f. none of the above
Q:
Which of the following is NOT an analogy for cinema and specifically for montage explicitly invoked by Eisenstein?
a. the internal combustion engine
b. a Marxist view of history
c. Japanese pictograph writing
d. linguistics
e. a gestalt
f. All of the above are analogies used by Eisenstein.
Q:
The type of dialectical montage that is concerned with the temporal length of the individual shots is
a. rhythmic montage. d. tonal montage.
b. metric montage. e. overtonal montage.
c. graphic montage. f. none of the above
Q:
Dialectical rhythmic montage
a. is concerned with the temporal length of the shot.
b. was never utilized by Eisenstein in any of his films.
c. remains a vague concept even though Eisenstein wrote extensively about it.
d. is concerned with movement within the shots.
e. is about the abstract, conceptual relationships between the images.
f. none of the above
Q:
The type of dialectical montage concerned with the emotional quality of the shot is
a. metric. d. overtonal.
b. rhythmic. e. intellectual.
c. tonal. f. none of the above
Q:
Dialectical overtonal montage is
a. about the relative length of the individual shots.
b. not about the content of the shots but their texture.
c. when the tonal dominant of the shot becomes the basis for the edit.
d. not really a distinct category but another way of looking at montage based on the totality of stimuli.
e. the type of montage that most fascinated Eisenstein, both in his theoretical writings and in the films themselves.
f. none of the above
Q:
The film that can be considered the beginning of the classic period of the Soviet silent film was
a. The Amazing Adventures of Mr. West in the Land of the Bolsheviks.
b. Three Songs of Lenin.
c. Battleship Potemkin.
d. Strike.
e. Mother.
f. none of the above
Q:
Compared to the film industries of other Western countries, the Soviet cinema
a. never attained the level of industrial or aesthetic sophistication of most other countries.
b. was helped immeasurably by the socio-economic conditions of the post-revolutionary period.
c. was late in developing but ultimately equally artistically vital and sophisticated.
d. was unable to reopen the many theaters that closed after the revolution.
e. had little exposure to the films of the West.
f. none of the above
Q:
Battleship Potemkin
a. is above all a political propaganda film.
b. contains roughly the same number of shots as an American film of comparable length.
c. is an extremely accurate depiction of Russian history.
d. was never popular in the Soviet Union and did little to help Eisensteins reputation as a director.
e. originally ran over three hours.
f. none of the above
Q:
Battleship Potemkin
a. was initially conceived by the Jubilee committee who commissioned it as only covering the events of the Odessa massacre.
b. was not widely appreciated outside the Soviet Union.
c. is so focused on editing that issues of image composition were largely ignored.
d. was largely shot on studio sets.
e. represents an entirely new editing technique based on psychological stimulation rather than narrative logic.
f. all of the above
Q:
Eisenstein referred to his general theory of editing as
a. intellectual montage. d. synthetic montage.
b. dialectical montage. e. graphic montage.
c. ontological montage. f. none of the above
Q:
Which of the following directors NEVER studied with Kuleshov?
a. Eisenstein
b. Pudovkin
c. Barnet
d. Parajanov
e. Vertov
f. All of the above studied with Kuleshov.
Q:
Lev Kuleshov
a. ceased writing theory after he began directing feature films.
b. never directed a sound film.
c. was denounced for formalist error during the Stalin years.
d. believed that film art began with the actors performance.
e. stopped teaching when he began directing.
f. none of the above
Q:
Eisenstein and Griffith
a. made about the same number of films.
b. had very similar intellectual concerns.
c. both contributed a great deal of theoretical writing to the body of cinematic knowledge.
d. had very similar training and preparation for becoming directors.
e. both made epic historical films with strong ideological perspectives.
f. all of the above
Q:
Which of the following was NOT a factor in Eisensteins dramatic and cinematic development?
a. his study with the Moscow Proletkult Theater
b. an apprenticeship with Dziga Vertov making agit-kino
c. his exposure to and artistic friendship with The Factory of the Eccentric Actor (FEX) theatrical troupe
d. his short time spent with the Kuleshov Workshop
e. biomechanics
f. All of the above were formative influences.
Q:
From Meyerhold, Eisenstein learned
a. how to get realistic performances from his actors.
b. typage.
c. Hindu philosophy and Yoga.
d. how to combine rigorous systematization and spontaneous improvisation.
e. all of the above
f. nothing, since Eisenstein never studied with Meyerhold.
Q:
Eisensteins first film
a. was made to be shown on a film train.
b. was made as agit-kino.
c. was made as a part of an avant-garde theater piece.
d. was made for FEX.
e. Both a and b are true.
f. all of the above
Q:
Typage
a. is an editing style that uses the audiences preconceived ideas about a subject as the basis of the cut.
b. is a directing style that minimizes the importance of the individual shot in favor of creating a recognizable situation.
c. is an acting style that rejects individual performance for a mask-like, instantly recognizable public stereotype.
d. is a photographic style that uses familiar objects and composition to trigger predictable responses.
e. is a production design style that emphasizes idealized spaces that have metaphorical significance.
f. none of the above
Q:
Eisensteins theater productions
a. were influenced by the circus.
b. included a great deal of satire.
c. were influenced by the ideas of Freud and Pavlov.
d. contained many cinematic elements.
e. were constructed around a montage of attractions.
f. all of the above
Q:
According to Eisenstein, every element that can be verified and mathematically calculated to produce certain emotional shocks was called
a. a cell. d. typage.
b. dialectic montage. e. agit-Guignol.
c. an attraction. f. none of the above
Q:
Strike
a. was the first film Eisenstein ever directed.
b. was based on an actual historical event.
c. abandoned the traditional Soviet notion of a collective hero for an individual one, which was more like Griffith.
d. was so effective that the government ordered eight more films to be produced as a series, all of which were completed by 1926.
e. was envisioned by Eisenstein as being an assault on the tradition of the bourgeois cinema of Europe and the United States.
f. all of the above
Q:
Which of the following best describes Strike?
a. It was made according to the model of the American cinema as practiced by Griffith.
b. All the action sequences were shot against studio-constructed backdrops.
c. The entire film is a montage of attractions or shock stimuli.
d. The attractions in the film are primarily cinematic tricks and not the metaphorical associations of Eisensteins later films.
e. By the time of the film, Eisenstein had abandoned the grotesque and circuslike qualities of his earlier work.
f. None of the above is true.
Q:
Kuleshovs experiments in creative geography demonstrated that
a. audiences could tell very easily when real temporal or spatial relations were violated.
b. audiences relied on the pace of the editing to determine meaning.
c. audiences were easily confused by the spatial and temporal breaks created by the edit.
d. audiences derived cinematic meaning from the edit.
e. the integrity of the photographed reality could not be violated without losing the audience.
f. none of the above
Q:
The difference between Griffiths approach to editing and Kuleshovian montage was that
a. Griffith was more interested in the metaphorical value of the cut.
b. the Soviets saw montage as primarily a narrative and representational technique.
c. Griffiths approach was far more varied in its use of the edit.
d. the Soviets saw montage as being potentially more expressive and symbolic.
e. Griffith understood the narrative function of editing but not the emotional impact it could have on an audience.
f. None of the above; both approaches were nearly identical.
Q:
The first feature film produced by the Kuleshov Workshop was
a. Strike.
b. The Death Ray.
c. The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks.
d. Chess Fever.
e. Aelita, Queen of Mars.
f. There was no film stock available for the Kuleshov Workshop to make any films.
Q:
By the Law was
a. a project of the Kuleshov Workshop.
b. based on a work of classic Russian literature.
c. extremely well-received by the official Soviet critics.
d. produced on the lowest budget ever allotted to a Soviet feature film.
e. a film modeled on Griffiths work, with multiple story lines and many locations.
f. all of the above
Q:
The Kuleshov Workshop
a. was not connected to the VGIK.
b. was primarily interested in the study of photography.
c. included both Pudovkin and Eisenstein as students.
d. produced many short experimental films.
e. had nearly unlimited access to equipment and resources.
f. c, d, and e are all true.
Q:
The D. W. Griffith film that would become the first great popular success of the Soviet film industry and a primary influence on a generation of filmmakers was
a. The Birth of a Nation. d. Broken Blossoms.
b. America. e. Judith of Bethulia.
c. Way Down East. f. none of the above
Q:
The fundamental technical concern of early Soviet filmmakers was
a. cinematography. d. acting and performance.
b. narrative construction. e. mise-en-scne.
c. production design. f. none of the above
Q:
The Kuleshov effect concluded that
a. meaning in cinema is primarily determined by the content of the individual shots.
b. meaning in cinema is impossible to determine conclusively through objective experimentation.
c. all viewers interpret meaning in a film differently.
d. meaning in cinema is determined primarily by the edit and not by the content of the shot alone.
e. meaning in cinema is a function of the construction of mise-en-scne.
f. none of the above
Q:
Agitki were
a. fictional action films with a political message.
b. comedies of social criticism.
c. family dramas with Socialist messages.
d. propaganda newsreels.
e. historical films.
f. none of the above
Q:
During the years of civil war (19181920), the Soviet film industry
a. produced virtually no films of any kind.
b. sent films around the country by train and boat.
c. experienced an explosion in creativity and production.
d. had no central organization and operated in a haphazard manner.
e. was under the control of Stalin.
f. none of the above
Q:
Vertovs doctrine of a new cinema based on the organization of camera recorded documentary material was called
a. kino-pravda. d. micro-photography.
b. kino-agitki. e. kino-kinema.
c. kino-glaz. f. none of the above
Q:
The Leninist film proportion was concerned with
a. balancing content within individual films so that entertainment and information could be contained within a single movie.
b. the ratio between exposed negative and the finished film, which had to be small in the early Soviet industry due to film stock shortages.
c. the length of individual films.
d. the ratio between the number of entertainment films produced and the number of informational films produced in a given year.
e. the balance between entertainment films and propaganda films shown on a given night.
f. none of the above
Q:
Kino-pravda
a. was the first film magazine in the Soviet Union.
b. rejected experimental techniques like trick photography and multiple exposures.
c. was the film style associated with Eisenstein and Pudovkin combining melodrama and propaganda.
d. was a theory that never resulted in any films being produced.
e. were experimental newsreel documentaries designed to test Vertovs theories of cinema.
f. none of the above
Q:
Dziga Vertov
a. is now considered one of the founders of documentary film.
b. made films that were never seen by large audiences in the Soviet Union.
c. was one of Stalins favorite filmmakers in the 1930s.
d. turned to making light entertainment films later in his career.
e. was unknown internationally until the 1960s because his films were never exported.
f. none of the above
Q:
The Man with a Movie Camera
a. was directed by Sergei Eisenstein.
b. is a formally conservative propaganda film featuring few formal experiments.
c. seeks to mask the evidence of its own construction through continuity editing and a clear and compelling narrative.
d. has no propaganda message at all.
e. seeks to create a portrait of life caught unawares.
f. none of the above
Q:
Before the Bolshevik Revolution in 1917, the film industry in Russia was
a. large and vital, producing many significant films.
b. dominated by a single company, Mosfilm.
c. very popular with the aristocracy and middle class as well as the working-class audience.
d. mainly European in that it was primarily imported and not domestically produced.
e. very diverse with dozens of independent production companies in several major cities.
f. none of the above
Q:
Lev Kuleshov
a. was one of the few prerevolutionary filmmakers to stay in the Soviet Union.
b. began his film career as a set designer for Bauer.
c. was one of the founders of the VGIK.
d. was a theorist and filmmaker as well as a teacher.
e. was only twenty years old when he began teaching at VGIK.
f. all of the above
Q:
The prerevolutionary Russian cinema
a. produced many distinguished works that have all been lost due to not being preserved by Soviet archives.
b. featured an aesthetic of camera mobility and fast-paced editing.
c. developed a modern acting style featuring a subtlety of performance that eventually developed into method acting.
d. featured the adaptation of classic Russian literature as a central genre.
e. produced very few indigenous films.
f. none of the above
Q:
The two great directors of the prerevolutionary Russian cinema were
a. Protazanov and Kuleshov. d. Bauer and Mozhukhin.
b. Pudovkin and Meyerhold. e. Starewicz and Kuleshov.
c. Protazanov and Bauer. f. none of the above
Q:
Evegeni Bauer
a. was the most famous actor in prerevolutionary Russia.
b. was a director influenced by the French film dart style.
c. made films featuring bold lighting and design as well as deep space tracking shots.
d. was a pioneer in combining live action with animation through multiple exposure.
e. made over one hundred films before the revolution, none of them very distinguished aesthetically.
f. none of the above
Q:
During World War I, the tsarist Russian government attempted to stimulate film production by
a. funding the production of propaganda films.
b. financing independent production companies to make feature films.
c. starting a film school to train the next generation of Russian filmmakers.
d. centralizing distribution through a government-administered agency.
e. officially banning the importation of foreign films.
f. all of the above
Q:
The Kerenski government
a. produced pro-tsarist propaganda films.
b. produced several dozen films under its government-sponsored production program.
c. was ultimately successful in reinvigorating the Russian industry.
d. abolished film censorship in Russia.
e. none of the above
f. all of the above
Q:
The Soviet leader who said, The cinema is for us the most important of the arts was
a. Kerenski. d. Stalin.
b. Trotski. e. Lenin.
c. Tsar Nicholas. f. none of the above
Q:
The early Soviet film industry had myriad problems, the LEAST of which was
a. prerevolutionary producers were capitalists and immigrated to Europe, taking their equipment with them.
b. foreign blockades made it impossible to import new equipment.
c. there being no organization in charge of the film industry under the new government.
d. chronic material and power shortages.
e. All of the above were serious problems.
f. Only a and b were not serious problems.
Q:
VGIK was
a. the Soviet government film agency.
b. the largest Soviet production company.
c. the joint German-Soviet production agreement.
d. the Soviet distribution agency that handled international markets.
e. Dziga Vertovs newsreel film series.
f. none of the above
Q:
The first director assigned to The Cabinet of Dr. Caligari was
a. Robert Weine. d. Fritz Lang.
b. Ernst Lubitsch. e. G. W. Pabst.
c. F. W. Murnau. f. none of the above
Q:
The visual world of The Cabinet of Dr. Caligari
a. utilizes extensive artificial lighting effects.
b. contains many geometrically balanced spaces.
c. represents the narrators tortured psyche.
d. might be described as studio constructed naturalism.
e. is far more the product of camera manipulation than mise-en-scne.
f. all of the above
Q:
The decision to use artificial backdrops in The Cabinet of Dr. Caligari was primarily inspired by
a. the artistic vision of the director.
b. the fact that electric power rationing made it cheaper to paint shadows on the set than cast them using lights.
c. the screenplay, which specifically calls for painted backdrops.
d. the fact that the art directors could construct extremely realistic artificial backdrops.
e. the needs of the camera, which required artificial sets.
f. none of the above
Q:
The first true German Expressionist film was
a. Nosferatu. d. The Cabinet of Dr. Caligari.
b. The Student of Prague. e. Homunculus.
c. Passion. f. none of the above
Q:
Cinematic Expressionism
a. was more difficult to achieve than in any other art form.
b. deals with morbid psychological states and troubled dreams.
c. created mood with lighting and set design.
d. represented a psychological reality as a tangible visual image.
e. all of the above
f. none of the above
Q:
The influence of The Cabinet of Dr. Caligari on the German cinema that followed can be seen in
a. its dynamic editing and camera movements.
b. its realistic location settings.
c. its objective visual depiction of the internal, subjective world.
d. its emphasis on thematic clarity.
e. its narrative complexity.
f. all of the above
Q:
Dziga Vertov began his career as
a. a cinematographer filming the civil war.
b. an editor compiling footage into newsreels.
c. a writer primarily focusing on criticism and theory.
d. a director making popular dramas and comedies.
e. a producer interested in commercial cinema.
f. none of the above
Q:
Expressionism
a. was popular in cinema before World War I.
b. was never popular with the general public.
c. was never adopted by the cinema.
d. became prominent in the arts after World War I.
e. was rejected by Germanys young artists after the war as an antiquated means of communicating with the masses.
f. none of the above
Q:
The master of the German Kostmfilme was
a. Joe May. d. Robert Wiene.
b. Max Reinhardt. e. Ernst Lubitsch.
c. F. W. Murnau. f. none of the above
Q:
Passion and Deception
a. were early masterpieces directed by Fritz Lang.
b. were box-office failures that spelled the end of the Kostmfilme.
c. were not accurate in terms of period detail but were still very popular.
d. were characterized by dynamic crowd scenes, innovative camera angles, and brilliant artificial lighting.
e. were the beginnings of a new realism in the German cinema that would last into the 1930s.
f. none of the above
Q:
Lubitschs work in Germany
a. was primarily in the genres of horror and action-adventure.
b. made use of fairly conventional camera work and editing.
c. produced among the most popular films in world cinema.
d. was shot entirely in natural sunlight.
e. was not appreciated by the German audience even if it was popular internationally.
f. all of the above
Q:
The German Kostmfilme
a. declined in popularity in 1924.
b. was less concerned with the accurate reproduction of period detail than with the construction of a dramatic mise-en-scne.
c. were popular only in Germany since the rest of the world did not have the historical background necessary to understand them.
d. remained incredibly popular throughout the 1920s, becoming the most important German genre of the decade.
e. were cinematically regressive with static camera work and old-fashioned tableau editing.
f. none of the above
Q:
The writing team who conceived of The Cabinet of Dr. Caligari was
a. Janowitz and Lang. d. Mayer and Cesare.
b. Janowitz and Pommer. e. Cesare and Pommer.
c. Wiene and Mayer. f. none of the above
Q:
The Cabinet of Dr. Caligari
a. was cowritten by producer Erich Pommer.
b. features a somnambulist who can predict the future.
c. was produced by UFA.
d. was originally supposed to be directed by Murnau.
e. was based on a famous novel and stage play.
f. all of the above
Q:
The first step toward improving the quantity and quality of the German cinema was
a. the importation of Swedish and Danish directors and technicians to the German industry.
b. the adaptation of classic literature and stage plays.
c. the founding of UFA.
d. the work of G. W. Pabst.
e. all of the above
f. none of the above
Q:
The UFA studios
a. were small and underequipped.
b. were run by the German government until the rise of the Nazis.
c. were constructed at great expense but then never fully utilized.
d. increased production space and capacity dramatically.
e. both c and d
f. none of the above
Q:
UFA
a. had no studio facilities of its own but used those of existing German studios.
b. was financed entirely by the German government, which closely administered the organization.
c. was established by government decree but remained largely privately held.
d. was only interested in the production of entertainment films and not propaganda.
e. included exhibitors, leaving movie theaters free to book any films they chose.
f. c, d, and e only