 |
1 | |
Which of these was not a main genre of political Third World fiction filmmaking of the 1960s and 1970s?
|
| | A) | "exile" films
|
| | B) | "return to sources" films
|
| | C) | "memory" films
|
| | D) | films about historical struggles against imperialism
|
|
|
2 | |
What film movement influenced Latin American political filmmaking of the 1960s and 1970s?
|
| | A) | Soviet Montage
|
| | B) | Italian Neorealism
|
| | C) | Direct Cinema
|
| | D) | all of the above
|
|
|
3 | |
Which of the following did the Cuban ICAIC (Cuban Institute of Film Art and Industry) not begin in the 1960s?
|
| | A) | a film journal
|
| | B) | a film archive
|
| | C) | cine moviles
|
| | D) | a film school
|
|
|
4 | |
Which description best characterizes Cuban cinema of the 1960s?
|
| | A) | adoption of European art cinema techniques for political ends
|
| | B) | adoption of Hollywood techniques for political ends
|
| | C) | adoption of some European art cinema techniques but modified to be more accessible to wide audiences
|
| | D) | extreme modernist experimentation
|
|
|
5 | |
What four-hour revolutionary Argentinian film bombards the spectator with a collage of images and sounds attempting to provoke discussion, and is arranged into three parts: "Neocolonialism and Violence," "An Act for Liberation," and "Violence and Liberation"?
|
| | A) | The Hour of the Furnaces |
| | B) | Memories of Underdevelopment |
| | C) | Lucia |
| | D) | Operation Massacre |
|
|
6 | |
What was the effect of the military coup d'état on Chilean film production?
|
| | A) | major filmmakers went into exile
|
| | B) | film schools and production centers were destroyed
|
| | C) | a Chilean New Wave began
|
| | D) | both A and B
|
|
|
7 | |
Which African filmmaker took on the role of griot, the traditional storyteller figure, in his use of character types and voice-over commentary?
|
| | A) | Med Hondo
|
| | B) | Ousmane Sembene
|
| | C) | Djibril Diop Mambéty
|
| | D) | Haile Gerima
|
|
|
8 | |
What effect did Mao Zedong's Cultural Revolution have on Chinese cinema?
|
| | A) | it liberalized film censorship and allowed for a flourishing Chinese art cinema
|
| | B) | it created a new genre of film called the "revolutionary model performance film"
|
| | C) | it opened up Chinese theaters to foreign films
|
| | D) | all of the above
|
|
|
9 | |
What effect did the events of 1968 (the Prague Spring and its aftermath) have on Czech cinema?
|
| | A) | many Czech New Wave directors emigrated
|
| | B) | control of the film industry was recentralized
|
| | C) | some directors were denied official permission to make films or attend foreign film festivals
|
| | D) | all of the above
|
|
|
10 | |
Which Soviet director of the 1960s and 1970s made several personal, experimental films and was subsequently forbidden to direct films and sentenced to hard labor?
|
| | A) | Andrei Tarkovsky
|
| | B) | Nikita Mikhalkov
|
| | C) | Serge Paradzhanov
|
| | D) | Dusan Makaveyev
|
|
|
11 | |
What American engaged-cinema collective produced films to counter the mainstream media's representation of protests against the Vietnam War?
|
| | A) | Students for a Democratic Society
|
| | B) | Cinema Action
|
| | C) | Dziga-Vertov Group
|
| | D) | Newsreel
|
|
|
12 | |
Which of the following best characterizes the techniques and forms of engaged cinema?
|
| | A) | radical fragmentation inspired by Soviet Montage
|
| | B) | a mix of Direct Cinema techniques and interview formats
|
| | C) | social observation inspired by Italian Neorealism
|
| | D) | the "collage principle" borrowed from Latin American political cinema
|
|
|
13 | |
What was the significance of Bertolt Brecht to political cinema of the 1960s and 1970s?
|
| | A) | his film, Kuhle Wampe, was widely imitated
|
| | B) | his plays were frequently adapted by French and American directors
|
| | C) | his theory of theater, in which he encouraged the distancing of the audience and the creation of an "anti-illusionist" style, was highly influential
|
| | D) | all of the above
|
|
|
14 | |
Which of these films is not an example of political modernism?
|
| | A) | Jean-Luc Godard and Jean-Pierre Gorin's Tout va bien |
| | B) | Nagisa Oshima's Death by Hanging |
| | C) | Emile de Antonioi's In the Year of the Pig |
| | D) | Miklos Jancso's Red Psalm |
|
|
15 | |
Which of these films is not an example of politicized art cinema? |
| | A) | Bernardo Bertolucci's The Conformist |
| | B) | Chantal Akerman's Jeanne Dielmann, 23, Quai de commerce, Bruxelles 1080 |
| | C) | Lindsay Anderson's If… |
| | D) | Agnes Varda's One Sings, the Other Doesn't |
|
|
16 | |
Which German political modernist filmmaker(s) combined collage construction, direct sound, and ascetic treatment of narrative and style in films such as The Chronicle of Anna Magdalena Bach and History Lessons?
|
| | A) | Jean-Marie Straub and Daniele Huillet
|
| | B) | Alexander Kluge
|
| | C) | Rainer Werner Fassbinder
|
| | D) | Hans-Jurgen Syberberg
|
|
|
17 | |
Which New German Cinema director rejected Brechtian aesthetics and took inspiration from socially critical American melodramas?
|
| | A) | Alexander Kluge
|
| | B) | Rainer Werner Fassbinder
|
| | C) | Margarethe von Trotta
|
| | D) | Volker Schlondorff
|
|
2002 McGraw-Hill Higher Education