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1 | |
What allowed the British film industry to expand considerably during the 1930s? |
| | A) | American companies curtailed exports to Britain |
| | B) | The British government offered generous subsidies to film producers |
| | C) | The British government required that distributors and exhibitors set aside a percentage of their offerings for British films |
| | D) | With the coming of sound, British audiences came to prefer films with British voices to those with American ones |
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2 | |
How did Alexander Korda rise to great success in the British film industry? |
| | A) | by producing "quota quickies" that turned handsome profits on small investments |
| | B) | by starting Britain's first vertically integrated company |
| | C) | by building the Pinewood studio |
| | D) | by making big-budget period films that were profitable in America |
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3 | |
Which of the following best characterizes Alfred Hitchcock's British films in the mid-1930s? |
| | A) | mainly comedies |
| | B) | a mix of different genres |
| | C) | mainly thrillers, but with elements of comedy mixed in |
| | D) | mainly straightforward romantic dramas |
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4 | |
Which film producer came to control more of the British film industry than any other in the 1940s? |
| | A) | Rank |
| | B) | Ealing |
| | C) | Korda |
| | D) | Balcon |
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5 | |
Who made the British war-time films The Life and Death of Colonel Blimp and The 49th Parallel? |
| | A) | Laurence Olivier |
| | B) | David Lean |
| | C) | Michael Powell and Emeric Pressburger |
| | D) | Noel Coward |
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6 | |
What Japanese director of contemporary-life films was influenced by certain directors of American comedies, such as Lubitsch and Chaplin, but rejected the Hollywood style of editing and kept his camera low to the ground? |
| | A) | Naruse |
| | B) | Ozu |
| | C) | Mizoguchi |
| | D) | Shimizu |
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7 | |
What director known for his socially critical films about Japanese women often used long takes to film emotionally charged scenes? |
| | A) | Naruse |
| | B) | Ozu |
| | C) | Mizoguchi |
| | D) | Shimizu |
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8 | |
Which of the following does not characterize Indian cinema before World War II? |
| | A) | Films from different regions were produced in different languages, though Hindi films were made in many different cities |
| | B) | the Indian cinema's output was greater than that of many other major film-producing nations, including France and the USSR |
| | C) | nearly all Indian films included musical numbers with vocals often recorded not by the film's actors but by "playback singers" |
| | D) | the major Indian production companies were all vertically integrated, just as in Japan and the United States |
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9 | |
Which of the following was not a significant genre of Indian cinema of the 1930s and 1940s? |
| | A) | mythological films based on legends and literary epics |
| | B) | stunt films akin to Hollywood B pictures |
| | C) | films tackling social issues such as the caste system |
| | D) | modernist experimentation influenced by the European avant-gardes of the 1920s |
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10 | |
How did politics influence Chinese filmmaking in the 1930s and 1940s? |
| | A) | two groups of filmmakers, one right wing and nationalist, the other left wing and sympathetic to communism, struggled to control Chinese filmmaking |
| | B) | most Chinese filmmaking was dominated by right wing nationalists |
| | C) | most Chinese filmmaking was dominated by left wing communist sympathizers |
| | D) | politics did not influence Chinese filmmaking significantly in this period |
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2002 McGraw-Hill Higher Education