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1 | |
Which of the following best characterizes the European film industries since the 1970s? |
| | A) | many European films are co-productions of several countries |
| | B) | Hollywood films command most of the box office in Europe |
| | C) | Hollywood has occasionally financed European auteur films |
| | D) | all of the above |
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2 | |
What role has television played in European film production? |
| | A) | both public and private television networks have usually refused to finance films |
| | B) | public television was a stable source of support in the 1970s, but private television has ended this source of funding for European directors |
| | C) | both public and private television have been important sources of funding since the 1970s |
| | D) | public television networks usually refused to finance films in the 1970s, but private television has opened up a substantial source of support |
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3 | |
What is meant by the term "Eurofilms"? |
| | A) | films co-produced by several European countries |
| | B) | films explicitly concerned with trying to understand the complexities of a new European identity |
| | C) | films that are seen only in Europe, never exported to the U.S. or Asia |
| | D) | all of the above |
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4 | |
Which European director of the 1980s and 1990s fuses melodrama, camp, and sex comedy in films with scandalous situations and imagery? |
| | A) | Nanni Moretti |
| | B) | Pedro Almodovar |
| | C) | Theo Angelopoulos |
| | D) | Aki Kaurismaki |
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5 | |
Which European director(s) of the 1970s and 1980s combined melodrama and social critique while also stressing stylized visual style and baroque sound design? |
| | A) | Paolo and Vittorio Taviani |
| | B) | Ken Loach |
| | C) | Bertrand Blier |
| | D) | Rainer Werner Fassbinder |
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6 | |
Which of the following best characterizes the films of Marguerite Duras? |
| | A) | explorations of women's social roles exploiting the more accessible conventions of art cinema |
| | B) | stories about complex love affairs presented in a slow, laconic style |
| | C) | a spare detached camera technique used to follow wandering, enigmatic characters |
| | D) | all of the above |
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7 | |
Which of the following is not a trend in European cinema of the 1980s? |
| | A) | experimental modernism, as in the films of Peter Greenaway |
| | B) | use of complex, fragmentary flashbacks |
| | C) | the French cinéma du look |
| | D) | a return of the challenging, anti-narrative approach of radical political modernism |
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8 | |
Which of these films is not an example of "Sensibilist" German cinema? |
| | A) | Heart of Glass |
| | B) | The Goalie's Anxiety at the Penalty Kick |
| | C) | Nosferatu |
| | D) | India Song |
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9 | |
Which Hungarian director exploited a "grimy style" with elaborately choreographed long takes and an extremely slow pace? |
| | A) | Istvan Szabo |
| | B) | Bela Tarr |
| | C) | Miklos Jancso |
| | D) | Marta Meszros |
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10 | |
Which "new realist" anti-government Polish film incorporated documentary footage of the Solidarity strike into the fictional narrative? |
| | A) | Krzysztof Kieslowski's Camera Buff |
| | B) | Andrzej Wajda's Man of Marble |
| | C) | Andrzej Wajda's Man of Iron |
| | D) | Krzysztof Kieslowski's A Short Film About Killing |
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11 | |
Which celebrated Soviet director of mystical, poetic films, who worked abroad in the 1980s, said, "Masterpieces are born of the artist's struggle to express his ethical ideals"? |
| | A) | Nikita Mikhalkov |
| | B) | Serge Paradzhanov |
| | C) | Andrei Tarkovsky |
| | D) | Aleksandr Sokurov |
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12 | |
Which of the following was an effect of Glasnost and Perestroika on Soviet cinema? |
| | A) | directors began to make films critical of Soviet history |
| | B) | state funding for filmmaking declined |
| | C) | previously banned films were shown |
| | D) | all of the above |
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2002 McGraw-Hill Higher Education