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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
Q:
The company that was formed in 1917 through a forced merger of the major German production companies, distributors, exhibitors, and the Prussian War Ministrys film propaganda unit was
a. Autorenfilm. d. Parufamet.
b. Bufa (Bild und Film Amt). e. Terra-film AG.
c. Decla-Bioskop. f. none of the above
Q:
Before the end of the war, UFA did all of the following EXCEPT
a. increase German production facilities by tenfold.
b. bring the German film industry up to a level competitive with the rest of the world.
c. sell all the shares in the company owned by the government to private investors.
d. assemble a highly skilled team of producers, directors, writers, and technicians.
e. establish the feature film as the dominant cinematic product of the German industry.
f. All of the above occurred before the war.
Q:
After the war, UFA
a. monopolized the German film industry.
b. became the only studio to compete with Hollywood for the international market.
c. produced more than 60 percent of the films made in Germany during the 1920s.
d. immediately turned to horror as its first significant genre.
e. functioned primarily as a producer, leaving distribution to a host of smaller companies.
f. all of the above
Q:
The post-war cultural shift in Germany led to
a. an enthusiastic embrace of Germanys past.
b. an increase in military censorship.
c. the banning of pornographic films.
d. the rise of Expressionism in the arts.
e. a rejection of experimental and avant-garde art.
f. all of the above
Q:
The Kostmfilme were
a. lavish dramas made to compete with the Italian spectacles.
b. a type of street film that preceded a movement toward greater realism.
c. pornography.
d. films of fantasy and terror that contained expressionistic devices.
e. intimate theater films with few locations.
f. none of the above
Q:
UFAs first peacetime productions were
a. Autorenfilm. d. romantic comedies.
b. Kammerspielfilm. e. Kostmfilme.
c. Expressionist horror films. f. none of the above
Q:
The German version of film dart was called
a. The Strassenfilme. d. The Autorenfilm.
b. The Kammerspielfilm. e. The Aufklrungsfilm.
c. The Universumfilm. f. none of the above
Q:
Which of the following is an effect of the Dawes Plan on German cinema?
a. It stabilized the industry.
b. It slowed the import of American films.
c. It encouraged the growth of independent production companies.
d. It increased Hollywood investment in German theaters.
e. It made more capital available to the German film industry.
f. none of the above
Q:
By late 1925, UFA
a. had grown so large that it absorbed nearly all its competitors, creating a German film monopoly.
b. was on the brink of collapse due in part to extravagant production budgets.
c. was making so much money that it invested in the Hollywood studios Paramount and MGM.
d. had become the dominant studio across Europe to the degree that other countries imposed quotas on imports.
e. had stabilized and was producing a continuous stream of popular films.
f. none of the above
Q:
The Parufamet Agreement
a. worked entirely to the advantage of German producers.
b. removed American influence from the German film market.
c. encouraged German talent to immigrate to Hollywood.
d. served to pull the studio out of debt and into profit.
e. gave UFA collaborative rights to Hollywood facilities, talent, and finance.
f. all of the above
Q:
The Hollywood studio and genre that owes the most to the influence of the German expatriate filmmakers is
a. the Warner Brothers gangster film. d. the Universal horror film.
b. the Paramount screwball comedy. e. the 20th Century-Fox western.
c. the MGM musical. f. none of the above
Q:
The postParufamet genre that reflected a new realism in the German cinema was
a. the Autorenfilm. d. the Strassenfilme.
b. the Kostmfilme. e. the Expressionist horror film.
c. the Kammerspielfilm. f. none of the above
Q:
The street film
a. was part of the new subjectivity in German culture.
b. was characterized by cynicism, resignation, and disillusionment.
c. was a genre invented by G. W. Pabst.
d. was as visually stylized as the Kammerspielfilm.
e. rediscovered the psychological morbidity of Expressionism.
f. all of the above
Q:
The Joyless Street
a. achieved a cinematic dynamism through camera movement rather than editing.
b. depicts daughters of the lower classes enticing rich men to take cynical advantage of them.
c. was heavily censored in Germany but played all over the world in its original version.
d. was an attempt through narrative, mise-en-scne, and editing to represent life as it is.
e. was both sentimental and symbolic with many emotional metaphors structured into the film.
f. all of the above
Q:
Which of the following is NOT a fundamental technique of Pabsts continuity editing system?
a. shot-reverse-shot
b. cutting on action
c. motivated point-of-view
d. matching eye-line
e. Only b and c are elements of Pabsts system.
f. All of the above are components of Pabsts continuity editing system.
Q:
The purpose of continuity editing is
a. to make every edit as meaningful as possible.
b. to render the edit essentially invisible.
c. to make the audience aware of the purpose of the cut.
d. to create metaphorical connections between people and objects.
e. to disorient the viewer by creating an impossible space.
f. none of the above
Q:
The director most responsible for codifying the continuity editing system is
a. D. W. Griffith. d. E. A. Dupont.
b. F. W. Murnau. e. G. W. Pabst.
c. C. B. DeMille. f. none of the above
Q:
G. W. Pabst
a. made his final two silent films with the American actress Louise Brooks.
b. abandoned the continuity editing system toward the end of the silent era.
c. never achieved commercial success.
d. abandoned any concerns of social realism by 1927.
e. turned to comedy in his later silent films.
f. all of the above
Q:
Which of the following was the most powerful factor in hastening the demise of UFA?
a. the rise of the Nazi party
b. emphasis on studio production, which became creatively stifling
c. economic instability, which crushed the studio with debt
d. the multi-faceted negative influence of Hollywood
e. the studios inability to make popular films
f. All of the above were factors, with none particularly significant.
Q:
Berlin, Symphony of a Great City
a. was codirected by Siodmak, Zinnemann, Ulmer, and Wilder.
b. is an intimate story of a boy and a girl lost in the city.
c. was directed by G. W. Pabst.
d. was the first work of Nazi propaganda.
e. employed candid camera and rhythmic montage.
f. only c and d
Q:
Which of the following countries had the LEAST developed film industry prior to World War I?
a. Italy
b. Great Britain
c. the United States
d. France
e. Germany
f. All of the above had highly developed industries.
Q:
Prior to World War I, the German cinema
a. produced many pornographic films.
b. had an extremely highly developed cinema culture.
c. produced lavish superspectacles.
d. were quite advanced in terms of narrative integration.
e. had no inventors working on cinema technology.
f. all of the above
Q:
The best translation of the term Kammerspielfilm would be
a. street realism. d. romantic dialogue films.
b. fantasy or terror films. e. instinct or intimate theater films.
c. adventure or action films. f. none of the above
Q:
The Kammerspielfilm
a. features large casts with many extras.
b. features the extensive use of intertitles.
c. deals with the romantic problems of the upper class.
d. was stylistically unrelated to Expressionism.
e. generally sacrificed character development for spectacle.
f. none of the above
Q:
The person responsible for the original conception of the unchained camera in The Last Laugh was
a. director F. W. Murnau. d. producer Erich Pommer.
b. cinematographer Karl Freund. e. director Fritz Lang.
c. screenwriter Carl Mayer. f. none of the above
Q:
Karl Freund
a. was a cinematographer known for his camera mobility.
b. was a screenwriter known for his contributions to the development of Kammerspielfilm.
c. was a cinematographer known for his static compositions that featured a single plane of action.
d. invented the camera dolly.
e. became one of the most important directors of German Expressionism.
f. none of the above
Q:
The single most important cinematic technique in terms of the influence of The Last Laugh on subsequent films was
a. set design. d. camera movement.
b. lighting. e. sound design.
c. editing. f. none of the above
Q:
The Last Laugh
a. has an unhappy ending.
b. is a perfectly constructed narrative but contains few technical innovations.
c. features primarily pans and tilts but few moves forward or backward.
d. has an incongruous conclusion.
e. was particularly difficult to shoot with only a hand-cranked camera.
f. none of the above
Q:
The film in which the camera descends in an elevator before moving through the lobby of a hotel and into revolving doors is
a. The Cabinet of Dr. Caligari. d. Metropolis.
b. The Last Laugh. e. Pandoras Box.
c. Nosferatu. f. none of the above
Q:
Which of the following was NOT a device used to move the camera in The Last Laugh?
a. a bicycle
b. a boom crane
c. overhead cables
d. a fire truck ladder
e. Karl Freunds chest
f. All of the above were used to move the camera in The Last Laugh.
Q:
The subjective camera
a. cannot be accomplished without a dolly.
b. is unrelated to the use of any editing technique.
c. is less about what a character feels than what he sees.
d. physically becomes the eyes of a player in the film.
e. is only used sporadically in The Last Laugh.
f. all of the above
Q:
The Last Laugh creates a sense of subjective representation through
a. unrealistic set design. d. surrealistic lighting effects.
b. lap-dissolved montage. e. both b and c
c. erratic camera movements. f. all of the above
Q:
Which of the following best describes the narrational mode or voice employed by Murnau in The Last Laugh?
a. first-person internal d. third person
b. first-person external e. all of the above except c
c. second person f. all of the above
Q:
Variety
a. made no significant impression on Hollywood filmmakers.
b. is the story of a hotel porter who loses his job and his dignity.
c. was directed by F. W. Murnau, his last German film before immigrating to the United States.
d. features even more dramatic camera movements than The Last Laugh.
e. was shot in a more conservative style than most German features of the time.
f. none of the above
Q:
Which of the following cinematic techniques is NOT used in Nosferatu?
a. low-angle photography to make the vampire menacing
b. composition in depth to integrate character and landscape
c. the use of projected shadows to make the vampire more mysterious
d. bizarre, forced perspective sets to create a horrific atmosphere
e. All of the above are used in the film.
f. None of the above are used in the film.
Q:
The photography of Nosferatu
a. was done by Karl Freund, the only time he ever worked with Murnau.
b. minimizes the use of shadows through high key lighting.
c. used a shallow focal plane to isolate the characters from their environments.
d. used a low-contrast lighting with a wide range of grays rather than stark black-and-white.
e. was done by Murnau himself.
f. all of the above
Q:
The Kammerspielfilm
a. superseded Expressionism as the dominant genre in German cinema.
b. was just as stylized as Expressionism.
c. was begun by Nosferatu.
d. de-emphasized the importance of the screenplay.
e. rejected the morbid psychology of Expressionism.
f. all of the above
Q:
The screenwriter whose work provided the basis for Kammerspielfilm was
a. Lupu Pick. d. Fritz Arno Wagner.
b. Erich Pommer. e. Hans Janowitz.
c. Carl Mayer. f. none of the above
Q:
The first film to use the Schfftan process was
a. Der mde Tod. d. Variety.
b. The Cabinet of Dr. Caligari. e. Metropolis.
c. The Last Laugh. f. none of the above
Q:
The Schfftan process
a. was a rear-screen projection process.
b. was an editing technique.
c. involves miniatures reflected onto a magnifying mirrored surface.
d. combined animation with live action.
e. involved matte photography.
f. all of the above
Q:
Metropolis
a. is set in a workers utopia of the future.
b. is based on Teutonic mythology.
c. features very few special effects.
d. features futuristic architecture and technology.
e. was Langs first major silent film that established him in the German industry.
f. all of the above
Q:
Langs films reveal that Expressionism was
a. an art film movement predicated on special effects.
b. never dependent on manipulations of decor or lighting.
c. limited in terms of the subject matter it could express.
d. never very popular with audiences even if critics embraced it.
e. all of the above
f. none of the above
Q:
In the early part of F. W. Murnaus career,
a. he was originally trained as an architect.
b. he started off directing Kostmfilme.
c. he began his career in cinema as a cameraman.
d. he worked almost exclusively in the Expressionist style.
e. he was an assistant to Fritz Lang.
f. none of the above
Q:
Which of the following is the best known of Murnaus early films?
a. The Student of Prague
b. Dr. Mabuse, the Gambler
c. The Cabinet of Dr. Caligari
d. Nosferatu
e. Passion
f. All of the above are early Murnau films.
Q:
Nosferatu
a. is a credited, acknowledged adaptation of Dracula.
b. is artificially stylized as The Cabinet of Dr. Caligari.
c. was shot entirely on sound stages.
d. was shot on location in central Europe.
e. was written by Mayer and Janowitz.
f. both b and e
Q:
Nosferatu
a. was independently produced with limited resources.
b. is considered one of the greatest films produced by UFA.
c. was photographed by Murnau himself who also served as art director.
d. is still renown for its brilliant narrative construction.
e. is primarily graphic in its use of Expressionist technique.
f. none of the above
Q:
Which of the following is the LEAST important technique for the production of Nosferatus Expressionist style?
a. camera angle
b. lighting
c. production design
d. low-contrast photography
e. editing
f. All of the above were equally important for Murnau.
Q:
Which of the following was NOT a reason for the German emphasis on studio production?
a. In the studio, directors could exercise greater control over the filmmaking process.
b. UFA had the largest and best-equipped studios in Europe.
c. There was an extremely high level of German studio craftsmanship.
d. It was far less expensive to shoot in the studio than on location.
e. The studio constructivist style was popular with directors and audiences.
f. All of the above are true.
Q:
The director of Der mde Tod was
a. F. W. Murnau. d. A. Dupont.
b. Fritz Lang. e. W. Pabst.
c. Robert Wiene. f. none of the above
Q:
Which of the following is NOT true of Der mde Tod?
a. It was cowritten by Langs wife, Thea von Harbou.
b. It was produced by UFA.
c. It reflected the postwar German obsession with doom.
d. It has a happy ending.
e. It falls within the stylistic boundaries of Expressionism.
f. All of the above are true.
Q:
Langs initial artistic training that would have a profound influence on his work as a director was in the field of
a. music. d. photography.
b. painting. e. architecture.
c. poetry. f. none of the above
Q:
Dr. Mabuse, the Gambler
a. is the last silent film directed by Fritz Lang.
b. is about a master criminal not unlike Dr. Caligari.
c. departs from the style of Expressionism.
d. was based on Teutonic mythology.
e. reveals little of the architectural stylization Lang was known for.
f. none of the above
Q:
Which of the following Fritz Lang films were adapted from Teutonic mythology?
a. Dr. Mabuse, the Gambler d. Kriemhilds Revenge
b. Siegfried e. both b and d
c. Metropolis f. none of the above
Q:
Metropolis was reportedly inspired by which citys skyline?
a. Berlin d. Moscow
b. Paris e. Chicago
c. New York f. none of the above
Q:
The film in which Griffith attempted to capitalize on the popular historical costume-film genre but which led to his economic downfall was
a. Hearts of the World. d. Broken Blossoms.
b. Isnt Life Wonderful. e. Orphans of the Storm.
c. Way Down East. f. none of the above
Q:
D. W. Griffiths America
a. was a box-office success.
b. was based on one of Griffiths earliest stage plays.
c. featured spectacular battle scenes similar to his earlier films.
d. was an attempt to imitate the success of Broken Blossoms.
e. only a and d
f. all of the above
Q:
Isnt Life Wonderful
a. was Griffiths last film as an independent producer for United Artists.
b. was shot entirely in Griffiths Mamaroneck studio.
c. was a comedy about American small-town life.
d. was shot in an early color process.
e. all of the above
f. none of the above
Q:
At Paramount, Griffith
a. could choose his own material.
b. enjoyed great success as the top director at the studio.
c. worked on several projects codirecting with Cecil B. DeMille.
d. directed W. C. Fieldss comedies.
e. regained his excitement for directing films.
f. none of the above
Q:
Abraham Lincoln
a. was highly regarded by critics of the time.
b. was a talking picture.
c. was a financial failure.
d. had a script by a famous American poet.
e. was made for Joseph Schenks Art Cinema Corporation.
f. all of the above
Q:
D. W. Griffith
a. never made sound films.
b. is equally notable for his philosophical and historical insight as his cinematic innovations.
c. derived his innovations from music, painting, sculpture, and classic literature.
d. discovered, synthesized, and articulated the narrative language of cinema.
e. all of the above
f. none of the above
Q:
The direct influence of The Cabinet of Dr. Caligari on other national cinemas was
a. immediate and profound.
b. delayed, but particularly significant in terms of set design.
c. negligible.
d. only important in terms of subject matter but not style.
e. nonexistent since the film was never shown outside Germany.
f. none of the above
Q:
The failure of Intolerance
a. caused Griffith to step up the pace of cinematic innovations, leading to the most creative period of his career.
b. did not cause Griffith to give up his independence as a producer.
c. caused Griffith to attempt to cater more closely to the publics taste.
d. caused the film to be withdrawn from release and be radically cut into four separate films.
e. caused Griffith to give up filmmaking.
f. None of the above was an effect since Intolerance was a success.
Q:
The films Griffith directed for Zukor
a. were mainly old-fashioned romances unpopular with the audiences of the time.
b. include several that are considered among his finest works.
c. were produced at the same epic scale as Intolerance.
d. were all produced in England.
e. were two reelers.
f. none of the above
Q:
Hearts of the World
a. was Griffiths follow-up film to Intolerance.
b. was made in England.
c. was anti-German war propaganda.
d. was extremely popular in England.
e. was supposed to be government funded but wound up being privately financed.
f. all of the above
Q:
The films Griffith made for First National
a. helped rebuild his reputation.
b. were largely directed by assistants.
c. were commercially and critically successful.
d. were primarily old-fashioned romances.
e. both b and d
f. all of the above
Q:
Broken Blossoms
a. was produced for First National.
b. was shot entirely on location.
c. returned to the epic style of Intolerance.
d. featured a Chinese man as the hero.
e. took six months to shoot and a year to edit.
f. all of the above
Q:
Broken Blossoms
a. had a shooting ratio of over 50 to 1.
b. was attacked for its racist depictions.
c. was a tremendous critical and commercial success.
d. used a cinematographer other than Bitzer who was responsible for the moody, atmospheric lighting.
e. both c and d
f. none of the above
Q:
Of the following, who was NOT a part of the original United Artists company?
a. Charlie Chaplin
b. Cecil B. DeMille
c. D. W. Griffith
d. Mary Pickford
e. Douglas Fairbanks
f. All of the above were co-owners of the company.
Q:
The film that represents Griffiths comeback from the disappointment of Intolerance was
a. The Love Flower. d. Dream Street.
b. Way Down East. e. The Great Love.
c. Broken Blossoms. f. none of the above
Q:
Way Down East
a. represents the beginning of Griffiths creative decline.
b. features some of Griffiths most skillful editing in the last-minute rescue.
c. was shot in the studio like his several previous films.
d. was a financial failure.
e. got the best critical reviews of Griffiths career.
f. none of the above
Q:
In Intolerance
a. only two of the stories converge in the final climax.
b. there is a constant reference to a Robert Frost poem.
c. Griffith cuts between spatial but not temporal planes.
d. there is a recurring transitional image of wind blowing leaves in a tree.
e. all of the above
f. none of the above
Q:
Griffiths assistant directors on Intolerance included
a. Tod Browning. d. Thomas Ince.
b. Erich von Stroheim. e. both a and b
c. Mack Sennett. f. all of the above
Q:
Intolerance was released in all of the following versions EXCEPT
a. The Fall of Babylon sequence as a separate film.
b. the original eight-hour version (released in two parts).
c. The Mother and the Law story as a separate film.
d. one that ran for three-and-a-half hours.
e. None of the above were commercially released.
f. All of the above were commercially released.
Q:
Intolerance has been noted for its
a. revolutionary continuity-editing techniques.
b. wide-screen effect used during the battle sequences.
c. elaborate tracking shots.
d. metaphorical intercutting.
e. only a and c
f. all of the above
Q:
Intolerance
a. was intended as an apology for The Birth of a Nation.
b. had a powerful influence on the Soviet filmmakers of the 1920s.
c. has an amazing sense of narrative clarity for a film so complex.
d. is an extraordinarily clear and thorough analysis of how the evil of intolerance has caused trouble throughout history.
e. places a far higher degree of importance on character development than historical spectacle.
f. all of the above
Q:
Which of the following cinematic techniques are used in The Birth of a Nation?
a. composition in depth d. period accurate mise-en-scne
b. diagonal split screen e. the flashback
c. complex parallel editing f. all of the above
Q:
Which of the following racist episodes is NOT included in the widely released and currently circulated versions of The Birth of a Nation?
a. a band of African American militia men terrorizing the Cameron family
b. a white woman committing suicide rather than submitting to the advances of Gus, a renegade negro
c. African American politicians shown drinking, carousing, and leering at white women in the state legislature
d. an epilogue suggesting the solution to the race problem in America is to send all black people to Africa
e. mobs of freed slaves running amok through the white community committing all manner of crimes
f. all of the above