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1 | |
Which of the following was not one aspect of auteurist film criticism?
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| | A) | promotion of the study of film style
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| | B) | an interest in Hollywood directors
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| | C) | dismissal of European cinema as decadent and irrelevant
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| | D) | division of directors into "mise-en-scene" and "montage" directors
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2 | |
Which Surrealist art cinema director is known for his straightforward style and experiments with narrative construction?
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| | A) | Luis Buñuel
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| | B) | Ingmar Bergman
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| | C) | Akira Kurosawa
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| | D) | Michelangelo Antonioni
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3 | |
Which art cinema director influenced by silent German cinematic traditions, such as Expressionism and Kammerspiel, became known for his signature use of long, penetrating close-ups?
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| | A) | Luis Buñuel
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| | B) | Ingmar Bergman
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| | C) | Michelangelo Antonioni
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| | D) | Robert Bresson
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4 | |
Which film by Akira Kurosawa, which became popular in the West, innovated a complex flashback structure in which each account of the same event differs drastically from the others?
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| | A) | Throne of Blood |
| | B) | Ran |
| | C) | Rashomon |
| | D) | Seven Samurai |
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5 | |
Which of the following are characteristics of Kurosawa's style?
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| | A) | static camera and long takes
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| | B) | multiple camera and telephoto lens
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| | C) | deep focus and long takes
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| | D) | telephoto lens and long takes
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6 | |
Which art cinema director consistently made use of symbolic locations, such as the road and the seashore, and used recurring characters such as the holy fool and the sensual whore?
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| | A) | Michelangelo Antonioni
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| | B) | Federico Fellini
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| | C) | Roberto Rossellini
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| | D) | Jean Renoir
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7 | |
Which art cinema director made a tetralogy of films in the early 1960s about contemporary life, with characters whose personal relations are characterized by a lack of purpose and emotion.
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| | A) | Michelangelo Antonioni
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| | B) | Federico Fellini
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| | C) | Robert Bresson
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| | D) | Jacques Tati
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8 | |
Which of the following best describes the films of Robert Bresson?
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| | A) | religious films shot in a flamboyant, colorful style with overly dramatic acting and elaborate camera movements
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| | B) | secular films shot in a flamboyant, colorful style with overly dramatic acting and elaborate camera movements
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| | C) | religious films shot in a restrained, austere style with subdued acting
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| | D) | secular films shot in a restrained, austere style with subdued acting
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9 | |
Which 1949 film by Jacques Tati about a carnival in a small village set the pattern for most of his subsequent work with its loose plot built out of elaborately staged gags? |
| | A) | Jour de fete |
| | B) | Mon Oncle |
| | C) | M. Hulot's Holiday |
| | D) | Play Time |
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10 | |
What was Satyajit Ray's relation to the commercial film industry in India?
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| | A) | Ray worked within the mainstream of Indian cinema
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| | B) | Ray admired and supported commercial Indian cinema, while preferring to make his films more self-consciously artistic
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| | C) | Ray criticized the contemporary Indian cinema for ignoring reality
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| | D) | None of the above
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2002 McGraw-Hill Higher Education