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1 | |
Approximately how many films were produced annually by the world's developing nations in the late 1980s? |
| | A) | 200 |
| | B) | 400 |
| | C) | 2,000 |
| | D) | 4,000 |
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2 | |
What was Embrafilme? |
| | A) | a Brazilian political documentary movement |
| | B) | a genre of Brazilian films inspired by Magical Realist literature |
| | C) | a company with a vertically integrated monopoly on Brazilian cinema |
| | D) | an independent Brazilian production company |
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3 | |
Which of the following is a trend in Latin America film production since the 1970s? |
| | A) | foreign investment in Latin American filmmaking |
| | B) | state-supported production |
| | C) | international co-production by filmmakers in various Latin American nations |
| | D) | all of the above |
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4 | |
What was Parallel Cinema in India in the 1960s and 1970s? |
| | A) | popular filmmaking in languages other than Hindi |
| | B) | low-budget, art-cinema filmmaking sponsored by the Indian government |
| | C) | Hindi Hollywood-style action films with less emphasis on song and dance numbers |
| | D) | political films banned by the government screened in secret |
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5 | |
Which of the following is not a trend in Indian cinema since the 1980s? |
| | A) | Indian participation in international co-productions |
| | B) | Indian directors going abroad to make films |
| | C) | popularity of Hollywood films in India |
| | D) | a steep decline in production of mainstream Hindi films |
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6 | |
Which of the following is a trend in Japanese cinema since the 1970s? |
| | A) | a new generation of directors specializing in internationally popular animated science-fiction and fantasy films |
| | B) | investment of Japanese companies in Hollywood |
| | C) | the growth of the Japanese market for Hollywood films |
| | D) | all of the above |
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7 | |
What characterizes the films of China's Fifth Generation? |
| | A) | a continuation of the style of films made during the period of the Cultural Revolution |
| | B) | films with psychological depth influenced by European art cinema |
| | C) | independent features not released through the Chinese studios but seen in festivals abroad |
| | D) | all of the above |
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8 | |
Which Asian film industry produces "pito-pito" ("seven-seven") films, shot quickly and cheaply, as well as lucrative sex pictures? |
| | A) | Chinese |
| | B) | Japanese |
| | C) | Filipino |
| | D) | Malaysian |
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9 | |
Which influential Hong Kong director innovated a style of martial-arts direction using rapid editing, sweeping widescreen compositions, and Peking-opera acrobatics? |
| | A) | Raymond Chow |
| | B) | King Hu |
| | C) | Bruce Lee |
| | D) | Jackie Chan |
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10 | |
Which Hong Kong director of the 1980s and 1990s found success at foreign film festivals with exhilarating films mixing commercial elements with improvisatory, lyrical, romantic, and wistful personal touches and unconventional narrative structures? |
| | A) | Jackie Chan |
| | B) | Tsui Hark |
| | C) | Ann Hui |
| | D) | Wong Kar-Wai |
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11 | |
Which Taiwanese director made a trilogy of films in the 1990s about Taiwanese history in a dedramatized style with a long shot/long take approach keeping action at a distance? |
| | A) | Edward Yang |
| | B) | Hou Hsiou-hsien |
| | C) | Tsai Ming-liang |
| | D) | Wai Ka-fai |
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12 | |
Which of the following is not a characteristic of the Australian film industry since the 1970s? |
| | A) | after a number of important, artistically significant films in the 1970s, Australian cinema went into an economic tailspin from which it has never recovered |
| | B) | Australian cinema is supported by a government agency |
| | C) | Australian cinema is dependent on international co-productions |
| | D) | an Australian-owned Hollywood studio facility in Sydney attracts Hollywood talent to Australia |
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13 | |
Which Middle Eastern national cinema produced Youssef Chahine, a director of autobiographical films? |
| | A) | Israel |
| | B) | Egypt |
| | C) | Turkey |
| | D) | Iran |
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14 | |
Which Iranian director made a series of films that refer to each other: the second one is about searching for the actor in the first one, and the third one is about the making of the second one? |
| | A) | Mohsen Makhmalbaf |
| | B) | Samira Makhmalbaf |
| | C) | Jafar Panahi |
| | D) | Abbas Kiarostami |
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15 | |
Which of the following is true of sub-Saharan African cinema since the 1970s? |
| | A) | many filmmakers have continued to draw on oral storytelling traditions |
| | B) | the "back-to-sources" trend has continued since the 1960s |
| | C) | a biannual film and TV festival is held in Burkina Faso |
| | D) | all of the above |
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2002 McGraw-Hill Higher Education