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1 | |
Which of the following is a general stylistic trend in New Cinemas of the 1960s?
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| | A) | discontinuity editing
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| | B) | long lenses
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| | C) | long takes
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| | D) | all of the above
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2 | |
What made the New Cinema films reflexive?
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| | A) | their left-wing political agenda
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| | B) | their self-referential interest in cinema's materials, structures, and history
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| | C) | their unusual camera style
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| | D) | none of the above
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3 | |
Which of the following does not characterize the French New Wave?
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| | A) | concentration on urban everyday life
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| | B) | realism similar to the Direct Cinema movement
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| | C) | open-ended narratives
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| | D) | extreme modernist ambiguity
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4 | |
Which French New Wave director was the most abrasive and innovative, working in a collage style to challenge narrative conventions?
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| | A) | François Truffaut
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| | B) | Jean-Luc Godard
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| | C) | Claude Chabrol
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| | D) | Alain Resnais
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5 | |
Which French film of 1959 used fragmentary flashback narration to blur the lines between memory, fantasy, and reality and to create temporal ambiguity?
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| | A) | Jean-Luc Godard's Breathless |
| | B) | Francois Truffaut's The 400 Blows |
| | C) | Alain Resnais's Hiroshima mon amour |
| | D) | Agnes Varda's Cléo from 5 to 7 |
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6 | |
Which western European country had the most powerful film production center in the 1960s?
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| | A) | France
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| | B) | Italy
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| | C) | Germany
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| | D) | Spain
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7 | |
Which Italian director of the 1960s, whose first films used a style he called pasticchio, was influenced by Neorealism, Catholicism, and modernism? |
| | A) | Bernardo Bertolucci |
| | B) | Pier Paolo Pasolini |
| | C) | Federico Fellini |
| | D) | Ermanno Olmi |
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8 | |
What was the most internationally successful Italian genre of the 1960s?
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| | A) | erotic/sex film
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| | B) | historical epic
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| | C) | horror
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| | D) | spaghetti western
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9 | |
Which of the following best characterizes the British "Kitchen Sink" trend in filmmaking of the 1950s and 1960s?
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| | A) | everyday realism set among the working class
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| | B) | horror films with polished production values
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| | C) | adaptations of popular stage plays of the 1950s
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| | D) | movies depicting spoiled young people living an amoral, licentious lifestyle
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10 | |
What was the significance of the Oberhausen Manifesto of 1962?
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| | A) | It let to the establishment of the Kuratorium Junger Deutsch Film (Commission for Young German Film)
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| | B) | It paved the way for a new German cinema which stressed the importance of the director as author
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| | C) | It voiced the younger generation's rejection of the German film establishment
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| | D) | all of the above
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11 | |
Which Polish director of the 1960s was most clearly influenced by the French New Wave?
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| | A) | Andrzej Wajda
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| | B) | Roman Polanski
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| | C) | Jerzy Skolimowski
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| | D) | Jerzy Kawalerowicz
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12 | |
Which of the following directors was not a member of the Czech New Wave?
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| | A) | Jiri Menzel
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| | B) | Milos Forman
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| | C) | Vera Chytilova
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| | D) | Aleksandar Petrovic
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13 | |
Which of the following best characterizes Hungarian director Miklos Jancso?
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| | A) | everyday realism
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| | B) | montage-style fragmentary editing
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| | C) | long takes with dynamic camera movements
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| | D) | self-referential irony
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14 | |
What did Japanese director Nagisa Oshima mean by calling for a cinema of the "active subject"?
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| | A) | films with dynamic, challenging camera and cutting styles
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| | B) | films in which the director expressed his deepest passions, anxieties and obsessions
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| | C) | films about struggling against conformity, obedience, and authority
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| | D) | both B and C
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15 | |
Which New Cinema movement was characterized by one of its key figures as practicing an "aesthetics of hunger," calling attention to the suffering of the poor and offering political critique?
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| | A) | Japanese New Wave
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| | B) | Brazilian Cinema Novo
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| | C) | Czech New Wave
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| | D) | Young German Film
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2002 McGraw-Hill Higher Education